INTRODUCTION

ARTYOM 30-DAY TECHNIQUE COURSE

Over the next 30 days, you will receive the 10 specific exercises Artyom used to develop the virtuosic
guitar abilities he is known for today. As he states in his video introduction, these exercises alone helped
him “reach absolutely new levels” of technical mastery in just 2 years. we want to help you do the same!

While we are providing you with all 10 of the exercises themselves, your job will be to take this amazing
resource and gradually work them into your daily routine. To help you do this, we have spaced the course
out into 3-day increments giving you enough time to add them to your daily routine one-by-one.

To get the most out of the exercises, Artyom

recommends practicing them for one hour a day. Of
course, you may do less (or more!) but what’s
important at this moment is deciding the total
amount of time you want to devote to your
technique on a daily basis.

Once you’ve decided how long you want to spend,

you need to break this time up among the ten
different exercises you will learn over the next 30
days. This is easy. Simply divide the total amount of
time you want to spend on technique by ten and you
will have a rough estimate of how much time you
have for each. For example, if you want to spend 30
minutes a day on technique, that means you should
work on each exercise for 3 minutes. This is just a
baseline that you should adjust as some exercises
take longer than others, but it’s a place to start.

From there, here is what we recommend doing each day for every exercise:

Day 1: Download the PDF and watch Artyom’s video. Essentially, you want to learn the exercise and figure

out what level you are at in the exercise’s range of possible difficulties.

Day 2: Spend 15 minutes on the exercise, making sure you understand the way to execute it and what

level you should be starting at.

Day 3: Practice the exercise for the amount of time you decided to spend on each (ex. 3 minutes if you’re

planning to do 30 minutes of technique practice).

Then, when you receive the next exercise on the fourth day, repeat the 3-day process with the new
exercise while continuing to spend the predetermined time on the exercise you just learned. In this way,
after 30 days, you will have implemented all ten exercises into your daily routine!

To help you keep track, we have created a little chart on the next page which you can print out and use to
make sure you’re sticking to your goal.

DAILY PRACTICE LOG

ARTYOM 30-DAY TECHNIQUE COURSE

print this sheet out and use it to keep

track of your progress over the next

EXERCISE
30 days. Each time you successfully
1 2 3 4 5 6 7 8 9 10
complete an exercise go ahead and

give your self a check - you deserve it!

1
2
As you can see, every 3 days, you will

receive a new exercise to implement

3
into your routine. this will gradually
4
compile until Day 28 when you’ll be
5
doing all 10!

6
on Day 30, your virtuoso technique
7
routine will be fully implemented.
8
However, to get there, we first need

to a) figure out how long we want to

9
be practicing technique at that point,
10
and b) how long we will be working
11
on each exercise. Let’s do that below

and then get started! 12

13
14
tOTAL TECHNIQUE
15
PRACTICE GOAL:
DAY

16
17
18
mins. 19
20
(divide by 10) 21
22
23
individual
24
exercise time: 25
26
27
mins. 28
29
30
Exercise #1

vertical stretching
The focus of this exercise is on developing your
ability to stretch between strings (as opposed to
frets) as well as your overall strength. Many times, a
piece will ask you to play two notes on the 6th and
the 1st string simultaneously, perhaps with your 3rd
and 4th finger. Mastering the following exercises
ensures that a stretch like that will never be an issue
for you. they are ordered below by difficulty. Work
through each and notice where you feel challenged.

a. 1st & 4th string

b. 1st & 5th string

c. 1st & 6th string

vertical stretching cont.

d. 1st & 4th string (with stretch)

e. 1st & 5th string (with stretch)

f. 1st & 6th string (with stretch)

Art yom’s tips

Notice the change in hand position as you move higher up

the fret board - in the lower frets, the wrist is behind the fret

board, but around the 12th fret, it moves in front.

Beginners should start with their fingers on the 1st and 4th

strings (1a) and work up to the 1st and 6th (1c).

Exercise #2

“the spider”

“the spider” builds on the same vertical stretching

principle from exercise #1, but instead of moving
both fingers at the same time, you move them one at
a time. this gives the creepy effect of a large, tan
spider crawly up and down your guitar fret board!
Once again, if the stretch from the 1st to the 6th
string is too difficult, move the bass notes to a higher
string such as the 4th or 3rd. you can also stop and
return at the 5th fret - find what works for you!

a. 3 fingers

b. 4 fingers

Artyom’s tips
keep it slow - The task here is stretching not speed. also,
make sure both voices are legato, not detached.

if you feel discomfort at any time, stop and relax. don’t

force yourself because an injury can completely derail
improvement.
Exercise #3

horizontal stretching
now that we have sufficiently stretched our hands
vertically, it’s time to do so horizontally! with this
exercise, it is especially important to go slowly. In
fact, the slower you go, the more effective it will be.
if the stretch starting on the 1st fret is too large, try
moving up to the 5th. as you may have noticed, the
frets get closer together the higher up the fret board
you go, so starting higher up will make it easier for
beginners and individuals with small hands.

a. 1 fret gap

b. 2 fret gap

Artyom’s tips
don’t turn your hand to a “violin” position. while it makes
the stretch easier, it defeats the purpose of the exercise.

you may, however, release the thumb from the back of the
neck. this does not hamper the effectiveness of the
stretch.
Exercise #4

two finger alternation

time to give the left hand a break and move to the
right! when it comes to right hand technique it is
crucial to develop all the fingers, not just the i and m
finger. that is why with this exercise, we begin the
alternation with a and m. however, you should also
do this exercise with m-i and a-i combinations as
well. every time you reach the 12th fret, make sure
you switch your starting finger. You can do either rest
and free stroke - whichever needs more work!

a. Ascending

(continue pattern up to the 12th fret)

two finger alternation cont.

b. Descending

(continue pattern back to the 1st string and all the way back to the 1st fret)

Artyom’s tips
with this exercise, the end goal is to improve velocity, but
at the start, go slowly. practice with a metronome so you
can feel the progression of your work.

you can also play the same pattern on the bass strings, but
be careful if you have weak nails.
Exercise #5

three finger technique

This exercise builds off of #4 by introducing a new

technique in the right hand: three finger scales. Here,

the left hand is exactly the same as the last exercise.

however, in the right hand, you begin using the a

finger, thus “three fingers.” using the a finger in this

way can be very strange feeling, especially if you

have never tried it before. That is why we

recommend starting this exercise very slowly and

gradually building up tempo over time.

a. Ascending

a m i a m i a m i a m i a m i a

(continue pattern to the 3rd string and up to the 12th fret)

b. Descending

a m i a m i a m i a m i a m i a

(continue pattern to the 3rd string and down to the 1st fret)

Art yom’s tips

if you want to increase speed, using three fingers (as

opposed to two) will always be faster - it’s simple

mathematics!

Most guitarists are used to the tremolo pattern (A-M-I), so

to make this exercise more difficult, start with i-m-a

Exercise #6

thumb technique
To finish off this batch of right hand exercises, we are
now going to do basically the same exercise as #4
and #5, but now with the thumb! Therefore, we will
be playing the left hand pattern on the bass strings
instead of the treble. Apart from this small change,
the overall pattern remains the same (you should be
quite good at it by now!) Make sure your right hand
stays relaxed throughout the exercise, and while the
end goal is speed, start slow.

p p p p

(continue pattern back to the 6th string and up to the 12th fret)

Artyom’s tips
Raise the wrist to give more freedom for the thumb - a
lower wrist can be used to play with flesh and make
different colors, but here you should go for volume.

For even more sound, try experimenting with more hand

movement while making sure the fingers are relaxed.
Exercise #7

legato (slurs)
you knew they were coming... slurs! Any decent
technique routine contains a good amount of slur
practice, and here, Artyom is making sure you get
that on a daily basis. While the execution itself is
relatively simple, the following routine will
effectively build up your hand’s strength and speed
when executing slurs in any piece. while Artyom
asks you to go to the 12th fret, find the distance
where you begin to feel the burn and go to there.

a. one finger

(continue pattern to the 12th fret)

(continue pattern back to the 1st fret)

b. two fingers

(continue pattern to the 12th fret)

(continue pattern back to the 1st fret)

legato (slurs) cont.
c. Two fingers (with gap)

(continue pattern to the 12th fret)

(continue pattern back to the 1st fret)

d. Four fingers

(continue pattern up to the 12th fret and back to the 1st fret)

Artyom’s tips
Keep the left hand fingers close to the strings when they
are not being played. Don’t allow them to float aimlessly
around in the air.

Make sure the second note sounds as loud as the first.

Exercise #8

slurs from nothing

This exercise is a short add-on to the slur practice we
did in #7. However, here you use only the left hand -
thus, they are called “slurs from nothing.” The
pattern below can be done pretty much anywhere on
the fret board. For instance, Artyom starts it on the
5th fret of the first string. This is a good spot to start,
but if you are looking for a more thorough workout,
try taking it all the way back to the 1st fret of the 6th
string, while going up to the 12th fret and back down.

1 2 3 4 2 3
0 0 0 0 0 0

(perform this exercise without the right hand)

Artyom’s tips
once again, try to keep the left hand fingers hovering close
to the strings - don’t allow them to flail about.

And as always, start slow!

Exercise #9

single finger tremolo

While the application of this technique may not be
immediately apparent, single finger tremolo is great
for developing overall control in the right hand. As
artyom suggests, start with the thumb doing slow
16th notes. speed it up gradually and when that
becomes easy, try the sextuplet option written
below. Move to each finger in the right hand, and
once you’ve done that, try doing the thumb and a
finger at the same time!

a. one finger

(continue pattern to the 12th fret and back down to the 1st)
b. two fingers

Artyom’s tips
Don’t move the whole finger - the majority of the
movement should come from the phalanx.

at first, support the right hand by resting your thumb on

the second string or wherever feels comfortable. later, try
doing it without support, keeping your fingers relaxed.
Exercise #10

Lef t hand trills

you’ve made it to the last exercise, congrats! To

finish your routine off, we’re headed back to the left

hand. the exercise itself is quite simple: going up and

down the fret board doing different combinations of

single, two, and four finger trills. once again, you

should find a level that works for you, going up to

just the 5th fret and back down or whatever you find

is best and work up from there, all the way to the

two strings exercise at the very bottom (10d).

a. single finger

(continue pattern to the 12th fret)

b. two fingers

(continue pattern to the 12th fret)

c. two fingers (with gap)

(continue pattern to the 12th fret)

left hand trills cont.
d. two fingers (with large gap)

d. Two strings

Artyom’s tips
Make each note super clear and strong while keeping the
fingers not “trill-ing” relaxed and close to the strings.

This exercise will help enormously when playing Baroque

music - ornaments will start to feel effortless.