For years, contemporary instrumentalists have been trapped by visual geometry. Fingers default to the same predictable scale boxes, familiar arpeggio grips, and step-wise linear runs that look neat on the instrument but sound completely uninspired to the listener. Speed Demon changes that by introducing a rigorous, non-linear mathematical permutation system heavily inspired by the legendary jazz educator Charlie Banacos.
By anchoring an unwavering pivot root note (“1”) and relentlessly scrambling the surrounding scale degrees through wide, angular jumps and directional waves, the visual illusions of your instrument dissolve. This course systematically uncovers your technical blind spots and replaces them with an iron-clad, physical map under your fingers.
This course spans seven distinct structural layers, systematically pushing your technique through increasing levels of complexity:
True to the pedagogical philosophy of Charlie Banacos, these exercises are built for metric flexibility and real-world improvisation. Every key signature utilizes an intentional 3-note pickup structure (consisting of an eighth-note rest followed by the last three notes of the pattern) leading directly into the core pattern. This layout forces you to navigate off-beat phrasing, maintain rock-solid rhythm, and accent smoothly across the bar line at high velocities.
The practice routine demands absolute cognitive engagement. Dedicate 15 minutes, twice a day, to these exercises. This tightly focused 30 minutes is enough to make profound progress without physical burnout. Work through every pattern across all 12 keys following the strict Circle of 5ths order, training your ears to achieve perfect key retention against the unwavering root anchor.
This example uses a Bb Blues scale and repeats the 2nd measure four times. There are midifiles included that play the 2nd measure 2X or just the single 2 measure one time. This gives you a lot of flexibility. Because you can use a DAW such as Garage Band you can change the type of instrument playing the midi file and also the feel. i.e. making it a swing or straight eighth rhythm.
Keep in mind this is one page of 6 because the sequence is started on all notes of the scale. This gives you a massive amount of examples to get your blues chops screaming fast! If your reading skills are not great memorize the pattern A-M. Start slow, there are midi files so you can control the tempo at all times.
Every single level section features autonomous code infrastructure output assets:
ISBN: 978-1-59489-294-3
I picked up your speed demon course. I am wondering about daily practice routine. I would think to be systematic and cover the entire instrument for phase 1:
Do I have this correct?
Yes that seems like a good approach. I didn’t mention in the book that articulation can also be applied. Like hammer ons, pulloffs or slides on a guitar or tonguing on a wind instrument etc. That said, many people that play fast have very little articulation unless it allows them to play the line faster. Blues guitarists commonly have hammer ons, pulloffs or slides to make a line easier to play.
So take that into consideration but overall start slow figure out how you want to play the line then start speeding it up. One thing you will probably find is as you speed up some of the ways you play something might not work so you will have to adjust along the way
Your productivity always amazes me! Do you think that this course would work well for bass too?
Yes I think it is important for bass players to read treble clef because if you are asked to play the melody to a piece of music it is often given to you in treble clef. I was thinking about making a bass clef version but just short on time right now. If you get the treble clef version I’ll send you the bass clef for free once I make it and of course that is “IF” I make it. Can’t promise right now :)
Why does this course engrave a repeat sign starting at the second bar instead of the first?
This mirrors Charlie Banacos’ exact layout rules. The first measure functions as a 3-note pickup to establish the tempo and physical trajectory off the downbeat. The second measure contains the core four-note speed demon pattern, which repeats exactly 4 times before the double-sided repeat signs move your hands to the next key signature along the wheel.
I don’t know if I have two 15 minutes slots everyday to practice Speed Demon. Do you have any recommendations for someone in my situation?
One of the best things you can do is use my Mental Practice Course. Charlie Banacos always told me to do as much mental practice as I can. You don’t need your instrument you just need to imagine the instrument in your mind and in this case practice the melodies but Mental Practicing can be used for pretty much anything.
So check out the Mental Practicing for Musicians Book, but remember, like anything you practice, it takes time to get good at it. You should find within a week or so you will see progress. I often give this idea to my students where I’d give them a hard melody and have them go home for a week and practice it, but only in their head. Then when they came for their next lesson I’d had them play it for the first time on their instrument. Many reported that they could play the melody faster than anything they had ever played and they could recall it weeks later so it was deeply embedded. Mental practicing is powerful stuff and all the great musicians I know do it everyday!!
I’m a beginner. Can I dive straight into Level 5 Symmetrical Diminished or Level 6 Whole Tone?
It is highly recommended that you master the levels in sequential order. Symmetrical layouts completely alter your finger placement choices because they break away from traditional seven-note major scale spacing. Level 1 Major and Level 2 Melodic Minor build the foundational muscle memory and relative pitch strength required to navigate those advanced grids safely. That said, if you are a more advanced player or let’s say just a blues player and that is all you want to play then by all means jump right to what interests you the most or fits into your style.
Why are there no audio mp3 play-alongs included in this version of the book?
By providing high-fidelity, unfolded Type-1 standard MIDI files instead of static audio tracks, you gain total freedom. You can import these custom MIDI patterns directly into any DAW or software sampler (like Kontakt) to instantly pick your own favorite instrument sounds, apply custom swing adjustments, and scale the playback speed to any tempo that fits your immediate practice needs. I should also mention there are a ton of midi to mp3 conversion programs out there so if you prefer an mp3 then they are pretty easy to make. Just remember it will be at one tempo only so you would have to make multiple mp3s to slowly speed up the lines.
Does this book include guitar tablature staves underneath the standard music notation?
No. This course is strictly note and interval-agnostic, using clean treble-clef notation to ensure it functions perfectly for guitarists, pianists, saxophonists, and violinists alike. Removing specific instrument finger-shapes forces you to learn the actual layout of the pitches across your entire instrument, effectively shattering your reliance on visual geometric box patterns. That said, I certainly can understand if you seldom have to sight read on the guitar you will have difficulty getting started with this course. I would still recommend you get the course and take time to figure out and memorize each melody. They are short so it should take too long to get it into your memory. Then start using the 4x midi files and build from there. It will work it just takes a little extra time for you to memorize each melodic line
I’m not sure I understand if you just practice the written parts with metrodrone and gradually speed the exercises up or do you always play with the midi file and speed that up. Also does matter what strings sets you plays on or is ok to play them in random positions the neck, ex. Around 3rd fret area etc. ?
You could approach this in multiple ways:
The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.
By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.
Still not sure where to start? Feel free to contact us for a personalized recommendation based on your goals.
Below is a link to my Blog where you can find out more information about this course and other courses:
