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The article offers insights to guitarists on several good picking and musical exercises that entail moving major scale-based motifs, or melodic patterns through the cycle of fourths. According to the author, every exercise starts in the key of G major in second position on the low E string and moves across the neck. It notes that a guitarist can play exercise legato style, picking only the first note on each string and hammering on the rest for a more fluid and rolling sound. A good way to master a down-down-up economy-picking pattern is cited.

The article describes several guitar music exercises focusing on the alternate-picking and sweep-picking techniques. Each exercise involves alternation between two minor-seven arpeggio shapes. The first exercise requires keeping the pick close to the strings with the picking hand relaxed, which is said to allow the player to achieve picking accuracy as well as coordination of the left and right hand. The musical notations used for each exercise are provided.

The article offers insights for guitarists on how to construct a harmonically dramatic and outside-sounding arpeggio in jazz harmony and illustrates some melodic patterns that can be applied to it. It notes that guitarists Wes Montgomery, Barney Kessel and Joe Pass would frequently connect arpeggios with chromatic passing tones and, when playing over a dominant-seven chord, add altered tension tones, such as flat five, sharp five and flat nine. It suggests transcribing solos by guitarist Django Reinhardt.