In this comprehensive book jazz guitarist Michael Anthony addresses the need to build flexibility and technical proficiency in a way consistent with the melodicmotifs of contemporary music. Though the warm-ups are numbered, there is no order that must be followed. The guitarist may approach them according to his orher interest and inspiration. They include: arpeggios, scale patterns, melodic minor forms, chord-melody groups, stretching and contrary motion, double-stops, octavedisplacement, walking bass with comping, two line phrases, 'out of the box'geometric shapes, overlapping rhythms, long arpeggios and diminished scale patterns. The finish line exemplifies arpeggios outlining I-VI-II-V7 progressions in major and minor. In the words of Michael Anthony, I find that isolation of the rightand left hand is useful, but ultimately it is the timing and coordination of the two that is necessary. The benefits of these warm-ups are threefold: 1. Technical improvement. 2. Fingerboard knowledge. 3. Ear training. Written in notation andtablature