Th

y- harmonically they are the

same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several tec fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several tec fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several tec fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several tec fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several tec fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) wit
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.
This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
ally they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
he first and third fingers should be used to
play the harmonics in the second half of the bar. The fourth finger can be used as
a barre for all harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.

This exercise is a reggae line in A minor that is played in the same style as the
Victor Wooten classic 'More Love'.
This is a difficult exercise since it combines several techniques at once - double
thumbing, strumming and playing
harmonics! In the first bar I recommend fretting the A with your second finger, the
G harmonic (fifth fret G string)
with your fourth, and the D harmonic (fifth fret D string) with your third finger.
The hammer-on should be played
with the first and third fingers, meaning that the fourth lands on the F. The first
and third fingers should be used to
play the harmonics in the second half of the er can be used as a barre for all
harmonics in the
second bar. Bars 3 and 4 are a development of the first two, although only
rhythmically - harmonically they are the
same. The only difference is the added popped ghost note. This has been done for
rhythmic variety and to challenge
your ability to combine several techniques into one cohesive line.
hmic variety and to challenge
your ability to combine several techniques into one cohesive line.