POSITION CHANGE

CONTENTS
(Names of position-changing techniques are based on bowed string instruments, especially the violin).

1. "Substitution" (the topic is covered in Lessons 51 and 52 of Andrey Nosov's Guitar School);
2. "Finger Slide" (the topic is covered in Lessons 53 and 54 of Andrey Nosov's Guitar School);
3. "Leaps" (the topic is covered in Lessons 55 and 56 of Andrey Nosov's Guitar School);
4. "Anticipation" (the topic is covered in Lessons 57 and 58 of Andrey Nosov's Guitar School).

PURPOSE
Recommended for students of elementary, secondary and higher education institutions. You can read about the particular featur es of exercises
Andrey Nosov's Guitar School... Only the Best Materials...

in Lessons 51-58 of Andrey Nosov's Guitar School.

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These materials might also interest amateur guitarists who are probably not familiar with the term "position." So, let me give you some
information on positions and position changes. Guitar position is a fixed position of the fingers of the left hand (which is by default responsible for
changing the pitch) on the neck. Therefore, position change is an action related to the shift of left - hand fingers from one part of the neck to another
("Positions" are taught in Lesson 15 of Andrey Nosov's Guitar School).
In guitar practice, there are four position-changing techniques (see Contents) which have common features. Knowing these features and, above all,
skillfully applying them in practice will help you to shift your fingers from one part of the neck to another not only with technical skill (quickly and

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quietly), but also on a high quality level (without interrupting the sound and extracting secondary unwanted sounds). These skills will surely be valuable
-

in any guitar practice, irrespective of whether you are accompanying or playing solo. Thus, if you have never heard of position-changing techniques, I
advise you to read Lesson 51 of Andrey Nosov's Guitar School before starting the exercises. This lesson contains detailed information on rules for
changing positions (see Section "Guitar Lessons").

py N GOALS AND OBJECTIVES

The exercises (see Contents) that I would like to bring to your attention are included in the training program of my (Andrey Nosov's) guitar
school and are mostly exclusive. Their goal is to develop the skills for quickly shifting left -hand fingers along the neck of the guitar. The given exercises
can be considered as preparation for the performance of more difficult materials like scales, passages, exercises for develop ing virtuosic playing (which
can be found on the website of "Andrey Nosov's Guitar School" in the section "Guitar Tips & Tricks" > "Exercises") and, of course, compositions of
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various levels of difficulty.

SPECIFIC FEATURES OF LEARNING

Each exercise is learned at a slow speed and then gradually sped up to the required tempo (the highest possible for a specific performer). And it
has to be done according to the required parameters specified below.
Each exercise should be repeated as many times as possible and practiced for a period of time (hours, week s, months) sufficient enough to
achieve the required qualities: high speed, accuracy, clarity, volume (sufficient for your potential audience to hear), and high-quality position change (see
nd

Lesson 51 of Andrey Nosov's Guitar School).

Each exercise is performed only with the specified left-hand fingering. Requirements for the right hand are not that strict. You can use any
fingering convenient for you.
You can also change the dynamics of any exercise by: increasing the volume when going up and decreasing the volume when going down ("up
and down," if we talk about sheet music, refer to the changing of pitch and fret numbers).
After learning each exercise on the second string (as described), you can practice it on different strings, too. I highly recommend you do this to
A

simulate various playing situations.

I wish you success in learning the materials...
Andrey Nosov,
the author of the manual "Andrey Nosov's Guitar School"
and several hundreds of arrangements for guitar solo,
guitar ensembles, voice and guitar.

1. SUBSTITUTION
1. Substitution: 1-2 (use this pattern to play on all strings)

                   
V VI VII VIII VIII IX


VI VII

 
IV V

   
I II II III III IV


2 1 2 1 2 1 2
2 1 2 1 2 1
1 2 1

i m i m i m


 1 2    2          1  2  1   2 1  2  1 
XI XII XII XIII XIII XII XII XI XI X
IX X X XI X IX
2 1 2 2
1 1


               
IX VIII VIII VII VII VI

            
VI V V IV IV III III II II I
2


1 2 1 2 1 2 1 2 1 2 1 1
2 2 1

Position change from A.Nosov,

and many other interesting and useful materials can be found on the website
http://www.guitarnosov.com
   
2. Substitution: 1-3 (use this pattern to play on all strings) XI XIII

     
IX

       
VII IX XI


III V V VII


I III 3


3 1 3 1
3 1 3 1
1 3 1
m i m i m
i


  1       
XIII XI

          
XI IX IX VII VII V
V III

 
3 3 III I


1 3 1 3 1 3 1 3 1
Andrey Nosov's Guitar School... Only the Best Materials...

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1  4
3. Substitution: 1-4 (use this pattern to play on all strings)

4  
X XIII XIII XVI

4  1
  
VII X

   
IV VII

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 
I IV
4 4 1
1 1
m i m
i m i



  
XVI
4 1
py N XIII

 1 
XIII
4
X

  1 
X
4
VII

  
VII
4
1
IV

      
4
IV

1
I
Co rey
4. Substitution: 2-3 (use this pattern to play on all strings)

         
IX X

     
VII VIII VIII IX

  
V VI VII

  
VI

     
  
II III III IV IV V
nd

3 2 3 2 3
3 2 3 2 3 2
2 3 2 3 2

i m i m i m


2  3   2 3  2                  
XI XII XII XIII XIII XIV XIV XIII XIII XII XII XI XI X
A

X XI
3 2 3 3 2 3 2 3 2 3 2


              2  3 2  3  2   3 2
X IX IX VIII VIII VII VII VI

  3  2     
VI V V IV IV III
III II
3 3


2 2 3 2 3

2  4 
5. Substitution: 2-4 (use this pattern to play on all strings)

2 4 
XII XIV

2 4 
X XII

2 4 
VIII X

 2 4i m
VI VIII

  
IV VI

  
II IV

2 4

m i m
i


   4 2 
XIV XII

 2  4 2  4  2 
XII X X VIII VIII

    
VI VI IV
4 IV II
2

 
4
4 2

2
 6. Substitution: 3-4 (use this pattern to play on all strings)

                        
VII VIII VIII IX IX X X XI
IV V V VI VI VII
III IV


4 3 4 3 4 3 4
4 4 3 4 3 4 3
3 3
m i m
i m i


                       
XII XIII XIII XIV XIV XV XV XIV XIV XIII XIII XII
XI XII XII XI
4 3 4 3 4 4 3 4 3 4
4 3 3 4 3


3
Andrey Nosov's Guitar School... Only the Best Materials...

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               
XI X X IX IX VIII VIII

         
VII VII VI VI V V IV IV III


4


3 4 3 4 3 4 3 4 3 4 3 4 3 4 3

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2 
1  3 
XV

2 
3  
7. Substitution: 1-2-3 (use this pattern to play on all strings) XIII

2   1 
XI XIII

py N 2 
 3   1 
 3  
IX

 1  2 3  1  2 3  1      
VII IX XI
III V V VII
I III

 i m i m
2 3 1
Co rey


   1  3 2  1   3 2  1   3 2 1
XV XIII XIII XI

     3 2 1  3  2 1  3  2 1
XI IX IX VII
VII V
2

   
3 V III III I


nd

1  2   
8. Substitution: 1-2-4 (use this pattern to play on all strings)

     
X XIII XIII XVI

  
VII X

   
        
IV VII
A

I IV 4 4
2 4 1 2
2 4 1
1 2 4 1
i m i m


      2 1 
XVI XIII XIII X

 2  1   4 2  1   4 2 1
X VII VII IV

     
4 2 1 4 IV I


4

1 3  4 
9. Substitution: 1-3-4 (use this pattern to play on all strings)

1 3 4 
X XIII XIII XVI

            
VII X
IV VII
I IV
4


3 4 1 3
1 3 4 1
i m i m


   
XVI XIII

4 3 1  4  3  1 
XIII X

         
X VII VII IV
4 3 1 IV I

 
4 3 1 4 3 1

3
 3   2 3  4 
10. Substitution: 2-3-4 (use this pattern to play on all strings)

2  4 
XIV XVI

3 
2  4  
XII XIV

3 
4  
X XII


4  2 

VIII VIII X

  2 3  4   2      
IV VI VI
II IV

 i m i m
3 4 2 3

                 
XVI XIV XIV XII XII X X VIII VIII

           
VI VI IV
4 3 2 4 3 IV II


2 4 3


2 4 3 2 4 3 2 4 3 2 4 3 2
Andrey Nosov's Guitar School... Only the Best Materials...

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1  2   4
11. Substitution: 1-2-3-4 (use this pattern to play on all strings)

1  2 3 4
X XIII XIII XVI

         4
VII X

  
IV VII

   
I IV 3

rig os
2 3 4 1 2 3
1 2 3 4 1
i m i m


     3  2 1
py N
XVI XIII XIII

4  3 2  1  4 3 2  1  4 3 2 1
X
X VII VII IV

     
4 3 2 1 4 IV I


Co rey
2. FINGER SLIDE
1. Finger Slide: 1-1-2-3 (use this pattern to play on all strings)

                             
VII X VIII XI
nd

III VI IV VII V VIII VI IX

I IV II V


3 2 3 1 2 3 1 1 2 3 1 1 2 3 1 1 2 3
1 1 2 3 1 1 2 3 1 1 2 1 1 1

i m i m


                
A

             
X XIII XI XIV XII XV XV XII XIV XI XIII X
IX XII XII IX
3 2 3 1 1 2 3 3 2 1 3 2
1 3 2 1 1
2 3 1 1 2 1 1 1 1 3 2 1 1


1 1

                    

XI VIII X VII IX VI VIII V VII IV VI

         
III


V II IV I
3 1 1


2 3 2 1 1 3 2 1 1 3 2 1 3 2
1 1 1 3 2 1 1 3 2 1 3
1 2 1 1

2. Finger Slide: 1-1-2-4 (use this pattern to play on all strings)

2  2  2 
1 
2  1  1 
1   1 
VIII XII

2  2 
1  1 
1   1   
VI X VII XI

  
IV VIII V IX

   
              
II


I V VI III VII
4 4 4
4 4 4 4
4
1 1 1 1 2
2 1 1 1
m
i m i


                 
             
IX XIII X XIV XI XV XII XVI XVI XII XV XI XIV X XIII IX
4 4 2 4 1 1 2 4 4 2 1 1 4 2
1 4 2 4
1 1 2 1 1 1 1 1 2 1 1


1 1 2

4
                            
         
XII VIII XI VII X VI IX V VIII IV VII III VI


II V I


4 4


2 1 1 2 1 1 4 2 1 1 4 2 1 4 2 4
1 1 1 2 1 1 4 2 1 4
1 2 1 1

3. Finger Slide: 1-1-3-4 (use this pattern to play on all strings)

3 
4 1 1 3  3 
1  4 1 1 3 
1  
XI VIII XII

3  3 
1  1 
1     
IX VI X VII

3    
 
IV VIII V

    
              
I V II VI III VII
4 4
4 4 4
3 4
Andrey Nosov's Guitar School... Only the Best Materials...

1 1 1 1 1 1 1

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i m i m


                              
IX XIII X XIV XI XV XII XVI XVI XII XV XI XIV X XIII IX
4 3 4 1 3 4 1 1 3 4 4 3 1
1
4 3
1 1
4 3
1 1 4 3 1
1 3 1 1 1


1 1

rig os
    1 1    3 1  1 4  3  1 1  4  3 1 1 4  3 1 1  4 3 1 1 4 3 1 4V 3 I
XII VIII XI VII X VI IX V VIII IV III VI

       1       1 1  
VII


II

py N
4 3 4


Co rey
4. Finger Slide: 1-2-2-3 (use this pattern to play on all strings)

  
                       
V VIII VI IX VII X VIII XI


III VI IV VII


II V

 
I IV


3 2 3 2 2 3 1 2 2 3 1 2 2 3 1 2 2 3
1 2 2 3 1 2 2 3 1 2 2 1 2 1

m
nd

i m i


 1  2  2 3  1           1                1   2  2 1  3  2 2  1
X XIII XI XIV XII XV XV XII XIV XI XIII X
IX XII XII IX
3 2 3 3 2 2 3 3 2 2 3 2
2
2 2 1 2 1


A

              
XI VIII X VII IX VI

         

VIII V VII IV VI


III V II IV I
3

 
2 2 1 3 2 2 1 3 2 2 1 3 2 2 3 2
1 2 1 3 2 2 1 3 2 2 3
1 2 2 1

5. Finger Slide: 1-2-2-4 (use this pattern to play on all strings)

2  2  2 
2 
2  2  2   1 
VIII XII

2  2 
2  2   1   1  
VI X VII XI

 1   
IV VIII V IX

   
               
I V II VI III VII
4 4 4
4 4 4 4
4
1
1 2 2 2
2 1 2 1
m
i m i


                               
IX XIII X XIV XI XV XII XVI XVI XII XV XI XIV X XIII IX
4 4 2 4 1 2 2 4 4 2 2 1 4 2 4 4
1 2 2 1 2 2 1 2 2 1 2 2


1 2 2 1

                                         
XII VIII XI VII X VI IX V VIII IV VII III VI

         
II


V I
4 2 1 4


2 2 2 1 4 2 2 1 4 2 2 4 2 4
1 2 1 2 2 1 4 2 2 4
1 2 2 1

5
 6. Finger Slide: 1-2-3-3 (use this pattern to play on all strings)

3  3 
2  1  1   
2   
VIII

3 
3 1 
2   1  
VII X XI

3  2   
V VIII VI IX

 
            
II V III VI IV VII
I IV


3 3 3 3 3 3 2 3
1 2 31 2 31 1 2 3 3

i m i m


                
             
X XIII XI XIV XII XV XV XII XIV XI XIII X
IX XII XII IX
3 3 3 2 3 3 3 3 2
1
3 3
2 1 3
3 3 1 2 3 1 2 1 3 2 1 3 3 2 1


1 2
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
              
XI VIII X VII IX VI

         

VIII V VII IV VI


III V II IV I
3

 
3 2 1 3 3 2 1 3 3 2 1 3 3 2 3 3
1 2 1 3 3 2 1 3 3 2 3
1 3 2 1

rig os
7. Finger Slide: 2-3-3-4 (use this pattern to play on all strings)

3  2  3 
3 

py N 3  2  3 
3   3 
2  
VIII XI IX XII

3 
4 2  3 
3   3 
2    
VI IX VII X

 3   
IV VII V VIII

         
III VI

   i m i m
II V
4 4 4
4 4 4
2 3
2 3 4 2 3 3
Co rey


                               
XVI XVI XIII XV XII XIV
X XIII XI XIV XII XV XIII XI XIII X
4 3 4 3 3 4 2 3 3 4 4 3 3 2 4 3 3 4 3 4
3 3 2 3 2 2 3 2 3 3 2


2
nd

                                            
XII IX XI VIII X VII IX VI VIII V VII IV VI

     
III


V II
4 3 3 4 3 4 4


2 3 2 3 3 2 3 3 2 4 3 3 4 3
2 3 2 4 3 3 2 4 3 3 2
A

8. Finger Slide: 1-2-4-4 (use this pattern to play on all strings)

4 
4 1 2 4  4 
2  4 1 2 4 
1  
XI VIII XII

  4   2     
IX VI X VII

 
 1 2    1    1  2    1       
VII IV VIII V


II VI III

  i  m i m  
I V
4 4
4 4 4
4
4 4 2 1 2 4

                  
           
IX XIII X XIV XI XV XII XVI XVI XII XV XI XIV X XIII IX
4 4 4 2 4 4 1 2 4 4 4 4 2
1
4 4
2 1
4 4 4 4 2
2 4 1 1 2 1


1 2 1

            1     2 1    4 2 1 4  4 2 1  4 4 2 1 4 4 2 1 4V 4 2 I
XII VIII XI VII X VI IX V VIII IV

               1  
VII III VI


II
4 4 2 1 4


4 2 4 4 4

6
 9. Finger Slide: 1-3-4-4 (use this pattern to play on all strings)

4  4  4 
3  1  4 
3 
1 
3  1  
VIII XII

4  3  
VII

3 4  3  1   
VI X XI

4   
  
IV VIII V IX

   
VII

 
     i m       
I V II VI III
4 4 4
4 4 4 4
1 3 1 3 4 4
1 1

i m


                  
                  
IX XIII X XIV XI XV XII XVI XVI XII XV XI XIV X XIII IX
4 4 4 3 4 4 1 3 4 4 4 4 3 1 4 4 3
1
4 4 4 4 3
3 4 1 3 1 3 1


1 1
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
4  4 3 1  4 4  3  1 4  4 3 1  4 4  3 1 4  4 3 1  4 4 3 1 4 4 3 1 4V 4 3 I
XII VIII XI VII X VI IX V VIII IV

            1  
VII III VI


II

 

rig os
10. Finger Slide: 2-3-4-4 (use this pattern to play on all strings)

4  2  4 
3 

py N 4  2  4 
3   3 
2  
VIII XI IX XII

4 
4 2  4 
3   3 
2    
VI IX VII X

4  3   
IV VII V VIII

 
    m     
II V III VI
4 4


4 4 4
4 4 4
2 3
2 3 2

i m i
Co rey


                               
XVI XIII XV XII
X XIII XI XIV XII XV XIII XVI XIV XI XIII X
4 4 4 3 4 4 2 3 4 4 4 4 3 2 4 4 3 4 4 4
3 4 2 3 2 2 3 2 4 3 2


2
nd

                                 
XII IX XI VIII X VII IX VI

              
VIII V VII IV VI


III V II
4 4


4 3


2 4 3 2 4 4 3 2 4 4 3 2 4 4 3 4 4
2 3 2 4 4 3 2 4 4 3 2
A

11. Finger Slide: 1-1-2-3-4 (use this pattern to play on all strings)


                          
IV VIII V IX VI X


I II VI III VII


V

  
4 3 4 2 3 4
4 3 4 2 3 1 2 1 1
1 1 2 3 4 1 1 2 3 1 1 2 1 1 1

i m


            
XI XV XII XVI

                
VIII XII IX XIII X XIV
VII XI
4 3 4 2 3 4 1 2 3 4
4 4 2 3 1 2 1 1 1


1 2 3 1 1 2 3 1 1 1
1

                             
XVI XII XV XI XIV X XIII IX XII VIII XI VII
4 3 2 1 1 4 3 2 4 3 4
1 1 2 1 1 3 2 1 4 3 4


1 2 1 1 3 2 1 1

                     
X VI IX V VII III VI

               
VIII IV II


V I


4 3 2 1 1 4 3 2 1 4 3 2 4 3
1 1 1 2 1 1 4 3 2 1 4 3
1 2 1 1

7
 12. Finger Slide: 1-2-2-3-4 (use this pattern to play on all strings)


                          
IV VIII V IX VI X


II VI III VII


I V

  
4 3 4 2 3 4
2 3 4 2 2 3 4 1 2 2
3 4
1 2 2 3 1 2 2 1 2
1 2 1
i m


3  3  3 
2 
3  2  2 
2  1 
2 
X XI XV XII XVI

  3 
2   2 
2   2 
1   1  
IX XIII XIV

     
XII

     
VII XI VIII
4 4 4 4
4 4


1 2 1 22 3 1
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
                          
XVI XII XV XI XIV X XIII IX

 
XII VIII XI VII


4 3 2 2 1 4 3 2 4 3 4
2 1 2 2 3 2 4 3 4


1 2 1 2 2 1 3 2 2 1

rig os
                           
X VI IX V VIII IV VII III VI II

    
V I


4 3 2 2 1 4 3 2 2 4 3 2 2 4 3 4

py N
1 1 2 2 1 3 2 2 1 4 3 2 2 1
Co rey
13. Finger Slide: 1-2-3-3-4 (use this pattern to play on all strings)

                              
IV VIII V IX VI X
I V II VI III VII


4 3 4 3 3 4
3 3 4 2 3 3 4 1 2 3
3 4
1 2 3 3 1 2 3 1 2
1 2 1
i m


3  3  3 
3 
3  3  2 
3  1 
2 
XI XV XII XVI
nd

  3 
3   3 
2   2 
1   1  
IX XIII X XIV

     
XII

     
VII XI VIII
4 4 4 4
4 4


1 2 1 23 3 1
A

                             
XVI XII XV XI XIV X XIII IX XII VIII XI VII
4 3 3 2 1 4 3 3 2 4 3 4
1 3 2 1 3 3 2 1 4 3 4


3 2 1 3 3 2 1

                     
X VI IX V VIII

               
IV VII III VI II


V I


4 3 3 2 1 4 3 3 2 4 3 3 4 3
1 2 1 3 2 1 4 3 3 2 4 3
1 3 2 1

14. Finger Slide: 1-2-3-4-4 (use this pattern to play on all strings)


                          
IV VIII V IX VI X


II VI III VII


I V

  
4 4 4 3 4 4
3 4 4 2 3 4 4 1 2 3
4 4
1 2 3 4 1 2 3 1 2
1 2 1
i m


4  4  4 
3 
4  3  2 
3  1 
2 
XI XV XII XVI

4   4 
3   3 
2   2 
1   1  
IX XIII X XIV

    
XII

     
VIII

    
VII XI
4 4 4 4
4 4


1 2 3 1 2 1

8
                           
XVI XII XV XI XIV X XIII IX

 
XII VIII XI VII


4 4 3 2 1 4 4 3 2 4 4 4
1 3 2 1 4 3 2 1 4 4 4


3 2 1 4 3 2 1

                           
X VI IX V VIII IV VII III VI II

    
V I


4 4 3 2 1 4 4 3 2 4 4 3 4 4
1 2 1 3 2 1 4 4 3 2 4 4
1 3 2 1
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
3. LEAPS

           
1. Leaps: 2-1-1 (use this pattern to play on all strings) VII VI VIII VII IX VIII

     
VI V

    
IV V

 
III IV


     
II I III II

rig os
2 2 2 1
2 2 2 1 1 1
2 2 1 1 1
1
i m i


          1      1 2   1  2   1 2 
XIII XII XII XIII

py N
X IX XI X XII XI XI XII X XI IX X
2 2 2 1 2
2


1 1 1
Co rey
                 
VIII IX VI

            
VII VIII VII V VI IV V III IV II III I II


1 2 2 2
1 1 1 2 2 2
1 1 1 2 1 2
nd

2. Leaps: 3-1-1 (use this pattern to play on all strings)

                        
VIII VI IX VII X VIII
V III VI IV VII V
III I IV II


3 3 3 1
3 3 3 1 1 1
3 1 3 1 1 1
A

i m i m i m


                       
XII X XIII XI XIV XII XII XIV XI XIII X XII
XI IX IX XI
3 3 3 1 1 3 3 3
3


1 1 1 1 1 1 3

                         
VIII X VII IX VI VIII V VII IV VI III V II IV I III

 
1 3 3 3
1 1 1 3 3 3
1 1 1 3 1 3

3. Leaps: 4-1-1 (use this pattern to play on all strings)

    4  1   4 1 
X VII XI VIII

   
VIII V IX VI

      
VI III VII IV

 
  i m i m  i m
IV I V II
4 4 4 4 1
4 4 1 1 1
1 1

4  1   1     1  4 1  1    1  4   1  4   1 4 
XIII X XIV XI XV XII XII XV XI XIV X XIII
XII IX IX XII
4 4 4

9
                          
VIII XI VII X VI IX V VIII IV VII III VI II V I IV


4


1 4 4 4
1 1 1 4 4 4
1 1 1 1 4

4. Leaps: 3-2-2 (use this pattern to play on all strings)

                        
VII VI VIII VII IX VIII X IX
IV III V IV VI V
III II


3 3 3 2 3 2
3 3 3 2 2 2
3 2 2 2
Andrey Nosov's Guitar School... Only the Best Materials...

i m i m i m

ht ov


                       
XIII XII XIV XIII XIII XIV XII XIII
XI X XII XI XI XII X XI
3 3 2 2 3 3
3 3 2 2 3 2 3


2 2 2

rig os
     2     2 3   2  3  2 3   2 3   2  3  2 3   
IX X VIII IX VII VIII VI VII V VI III IV

 
II III IV V


3 3

py N
2
Co rey
5. Leaps: 4-2-2 (use this pattern to play on all strings)

                        
VIII VI IX VII X VIII XI IX
V III VI IV VII V
IV II


4 4 4 2 4 2
4 4 4 4 2 2 2
2 2 2
i m i m i m

nd

 2    2    2   2     2  4   2  4   2 4 
XIII XI XIV XII XV XIII XIII XV XII XIV XI XIII
XII X X XII
4 4 4 2 4
4


A

                         
IX XI VIII X VII IX VI VIII V VII IV VI III V II IV

 
2 4 2 4 4 4
2 2 2 4 4 4 4
2 2 2

                       
6. Leaps: 4-3-3 (use this pattern to play on all strings) XI X
VII VI VIII VII IX VIII X IX


IV III V IV VI V
4 4 3


4 4 3 4 3
4 4 4 3 3 3
3 3
i m i m i m


                       
XIII XII XIV XIII XV XIV XIV XV XIII XIV XII XIII
XII XI XI XII
4 4 3 4 3 3 4 3 4 4
4 3 3 4


3 3

                        
X XI IX X VIII IX VII VIII VI VII V VI IV V III IV


4


3 3 4 3 4 4 4
3 3 3 4 4 4
3 3

10
 7. Leaps: 3-2-1-1 (use this pattern to play on all strings)

                                
VII V VIII VI IX VII X VIII
IV II V III VI IV
III I


3 2 3 2 1 3 2 3 2 1
3 3 2 1 3 2 1 1
3 2 1 2 1 1
i m i m


                              
XIII XI XIV XII XII XIV XI XIII
XI IX XII X X XII IX XI
3 2 3 3
3 2 3 2 1 3 2 1 1 2 1 2 1 2 3 3


1 1 1 2
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
       1  2     1  2 3  1  2  3   1 2 3   1  2 3   1  2  3   1  2 3   
VIII X VII IX VI VIII V VII IV VI III V II IV
I III

 
1 2 3 3

rig os

8. Leaps: 4-2-1-1 (use this pattern to play on all strings)

                               
IX VI X VII XI VIII
V VI III VII IV VIII V

py N
IV I II
4


4 4 2 1 4 2 2 1
4 4 4 2 1 4 2 2 1 1
2 1 2 1 1
i m i m


                              
XI XV XII XII XV
Co rey
XII IX XIII X XIV XI XIV X XIII IX XII
4 4 4
4 2
4 2 1 4 2 2 1 1 2 1 2 1 2
4
2 4


1 1 1

                                         
VIII XI VII X
nd

VI IX V VIII

         
IV VII III VI


II V I IV


1 2 4 2 4 4 4
1 1 2 2 4 4
1 1 2 1 2 1 2 4 1 2 4
A

                               
9. Leaps: 4-3-1-1 (use this pattern to play on all strings) XI VIII
IX VI X VII
IV VIII V


IV I V II VI III VII
4 3


4 4 3 4 3 1
4 3 4 4 3 4 3 3 1 1 1
1 3 1 1 1
i m i m

                              

XIV XV XII XII XV XI XIV
XII IX XIII X XI X XIII IX XII
4 3 4 4 3 1 1 3 4 4 3 4
4 1 3 3 3 4


3 1 1 1 1 1

                                                    
VIII XI VII X VI IX V VIII IV VII III VI II V I IV


4


1 3 3 4 4
1 1 3 1 3 4 3 4 3 4
1 1 1 3 4 1 3 4

10. Leaps: 4-3-2-2 (use this pattern to play on all strings)


                               
IX VII X VIII XI IX
VI IV VII V VIII VI
IV II V III
4


4 4 3 4 3 4 3 2 3 2
4 3 4 3 2 4 3 3 2 2 2
2 2
i m i m


11
                                
XIV XV XIII XIII XV XII
XII X XIII XI XII XIV XI XIII X XII
4 4 3 2 4 3 2 2 3 4 2 4 3 4
4 3 2 3 2 3 2 3 4


2

                                                   
IX XI VIII X VII IX VI VIII V VII IV VI III V II IV


4


2 3 2 3 4 4
2 3 2 3 4 2 3 4 3 4
2 2 3 4 2 3 4
Andrey Nosov's Guitar School... Only the Best Materials...

ht ov
11. Leaps: 4-3-2-1 (use this pattern to play on all strings)


                       
IX VI X VII XI VIII
VI III VII IV VIII V
IV I V II
4 3 2 1


4 3 4 4 3 2 1 4 3 2
4 3 4 3 4 3 2 3 2 1 1
2 1 2 1 2 1 1

rig os
i m i m


                                                    
XIV XI XV XII XII XV
XII IX XIII X XI XIV X XIII IX XII
4 4 3 3 4

py N
4 4 3 2 1 3 2 2 1 1 2 3 4 4
1 2 2 3 3 4


3 2 1 1 1 1 2

                                                
VIII XI
Co rey
VII X VI IX V VIII IV VII III VI II V I IV


4


1 2 3 1 2 3 4 1 2 3 4 1 2 3 4 3 4 4
1 2 1 2 3
1 2 3 4 1 2 3 4
nd

4. ANTICIPATION

1  2  1  2 
1. Anticipation: 1-2 (use this pattern to play on all strings) XV XVI

 1 
2 
XIII XIV

 1 2  
XI XII


2  
IX X

 1  2  1  2      
V VI VII VIII
A

I II III IV

 i m i m i m
1 2 1

              
XVI XV XIV XIII XII XI X IX

          
VIII VII VI V
2 1 2 1 IV III II I


2 1 1


2 2 1 2 1 2 1 2 1

3 
2. Anticipation: 1-3 (use this pattern to play on all strings)

1
XIII XV

1 3 
XII

 
X

  
VII IX

 
IV VI

 
 
I III
3 1 3
1 3 1
m i m
i m i


 1 
XV XIII

    
XII X


IX VII

3  1 
VI IV

3 1    
3 III I
3 1


3 1

12
 3. Anticipation: 1-4 (use this pattern to play on all strings)

           
XIII XVI XVI XIII


IX XII XII IX

  
VIII V

      
V VIII

    
4 4 IV I
I IV 1 1


4 4 1


4 1 4
4 1 1 4
1 1
i m
m
i m i


2 3   2 3 
4. Anticipation: 2-3 (use this pattern to play on all strings) XIV XV

2  3 
XII XIII

  3 
XI

       
VIII IX X


VI VII


IV V


II III
Andrey Nosov's Guitar School... Only the Best Materials...


2 3 2
3

ht ov
2 3 2
m i m
i m i


     3 2   3 2   3 2
XV XIV XIII XII

   3 2  3  2   3 2
XI X IX VIII
VII VI
3 IV

      
2 V

rig os
III II

     
II
py N
5. Anticipation: 2-4 (use this pattern to play on all strings)


IV

  
2
V
4
VII

 4 
VIII

2
X

 2
XI

4
XIII

  
XIV

2 4 
XVI
Co rey
2 4
m i m
i m i


     
XVI XIV XIII XI

     
X VIII VII V

        
4 2 4 IV II
2


4 2 4
nd

2 4 2

3  4 
6. Anticipation: 3-4 (use this pattern to play on all strings)

3 
XV XVI
A

    
XIII XIV

   
XI


XII

  
IX


X


4 
VII

  
VIII

  
V

 m i m i m
III IV VI
4 4
4


3 4 3
4 3 3
3
i


      
XVI XV XIV XIII

              
XII XI X IX
4 VIII VII VI V
3 IV III


4 3 4


3 4 3 4 3 4 3 4 3

1  2 3 
7. Anticipation: 1-2-3-3 (use this pattern to play on all strings) XIII XV

  2  3  1  2 3 
X XII

  
VII IX

        
IV VI
I III
2 3 1
1 2 3 1

i m i m


   1 
XIII

   
XV

         
XII X IX VII
3 2 VI IV

   
3 2 III I
1


3 2 1 3 2 1
3 2 1

13
 8. Anticipation: 1-2-4-4 (use this pattern to play on all strings)

          
XIII XVI XVI XIII

  
XII IX


IX XII

              
V VIII VIII V

 
I


4 4 IV

 
I IV 1 2 2 1


4 4 2


1 2
4 1 2 1 4 2 1
4
1 2 4 2 1

i m i m


9. Anticipation: 1-3-4-4 (use this pattern to play on all strings)

          
XIII XVI XVI XIII

      
XII IX

 1              1   4 3 1   
IX XII
V VIII VIII V

 3 
Andrey Nosov's Guitar School... Only the Best Materials...

1 
1 3IV 4 I 4 3 1


I IV


4 3 3 4

 m im
4 1 1 4

ht ov
4 3 3

i


   

rig os
10. Anticipation: 2-3-4-4 (use this pattern to play on all strings) XIV XVI

  3 4 
XI XIII

            
V VII VIII X
II IV 3 4
2


4 2 3 4 2
4 2 3
2 3

py N
m i m
i


         
XVI XIV
XIII XI

       
X VIII VII V
4

     
3 2 4 IV II
3
Co rey
2


4 3 2 4 3 2 4 3 2

11. Anticipation: 1-2-3-4 (use this pattern to play on all strings)

 4 
4 
nd

    
XIII

   
XVI XVI

 
XIII

    
XII XII IX

3           2 1  4 3  2 1  
IX

2 
1 
V VIII VIII V

4 
3 
 1 2 
I


3 2 1 2 3 IV

 
I IV 3 2 1 1


4 4


4 1 2 3 4 3
A

i mi m


If you have downloaded this materials from somewhere on the Internet, now is the time to visit their home website
and take a closer look at all the other interesting and useful materials.

Andrey Nosov's Guitar School presents:

1. Sheet music for guitar solo;

2. Sheet music for voice and guitar;
3. Sheet music for guitar ensembles;
4. Guitar lessons (learning the art of guitar playing and musical notation, analysis of musical compositions, know-how, and so on);
5. Vocabulary, reference materials;
6. Exercises for developing guitar playing techniques, guitar software and more.
I'd especially like to draw your attention to the online store where you can find a wide range of world-class compositions
for guitar solo, guitar ensembles, and voice and guitar. Access to the website is free... The first page of the sheet music for any composition is available
free of charge for listening and viewing... The prices will pleasantly surprise you...
I look forward to welcoming you to my website http://www.guitarnosov.com
Andrey Nosov

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