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    Guitar rock lesson from Guitar Techniques, January 2009

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    Guitar rock lesson from Guitar Techniques, January 2009

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    20 views48 pages

    Creative Rock 2009

    Uploaded by

    Rodrigo
    Guitar rock lesson from Guitar Techniques, January 2009

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 48
    LESSON: CREATIVE ROCK Using Open Strings Shaun Baxter shows how to employ those idle 2 ‘open strings so that you can modify many of your ~~ existing licks so they sound less predictable... eco Moderate INFO WILL IMPROVE YOUR KEY: Eminor __r0penstinginprovsations TEMPO:139bpm clnenalictleciiy (CD: TRACKS 47-49 ei tocreate ol ks LEARNING WAYS TO incorporate open strings into your licks and lines will allow ‘you to produce ear-catching wide intervals With little effort. Furth strings is very economical, because youare producing notes even when your fretting hhand leaves the guitar Generally, i is possible totake three approaches tousing open strings. First, one can play single notes. This usually takes the form of alternating, between fretted notes and open string notes on the same string, This issue's solo study, entitled Open Brief, demonstrates various configurations, such as one, two or three fretted notes followed by an open string, You are advised to experiment with as many digital and mathematical permutations asyoucan, and then, once you've tried them out, draw upa short listof your favourites, Secondly, it's possible touse open strings as drone notes (a bit like a sitar) Basically, this particular string with notes from a fatter open string (lower drone) or thinner open st (higher drone), Interestingly, many ofthe techniques employed by rock guitar players that are normally used to eradicate extraneous open string noise, have to be abandoned when using open string drones. Usually, rock guitar players need to fret notes with the fingerprint part of the fingers ofthe fretting hand, so that the fingers lie flat over the strings, allowing the underside ofthe fingers to dampen the idle treble strings. Also, the tip ofthe first finger ofthe fretting hand is used to stub upagainst the adjacent idle base string each time it olds downa note: however, these techniques will prevent your adjacent open strings from ringing out, so, on Tueoo TRACKS 47-49 when using open-strng drone effects, you ‘will need to fret each note withthe tips of the fingers ofthe frtting hand, not the ‘print part “Thirdly, technically speaking, all natural (pure) harmonies are also ‘generated on an open string ‘When improvising, there isa quick method that ean be used, even in the heat ofbatte, to establish which open strings itis possible to use with a particular scale. Basically, for any given scale, you must be able to mentally visualise the particular patter ofthat scale that falls over the 12th fret area. Any strings that have a scale note on the twelfth fet within that scale pattern can be used in their open form, Initially, you may find it technically difficult to employ open strings beeause your fretting hand hasto leave the fretboard altogether. Guitar players are used to having their fretting hand clamped onto the neck, so it may feel that your fretting handis temporarily out of eonteol asitlosesthe fretboard asa reference point; however, you will get used to this with timeand practice. 66 Incorporating open strings into your licks and lines allows you to produce ear-catching wide intervals with little effort 39 GET THE TONE erate one et on pec ay that ecient Pee fern TRACK RECORD Van Halen is essential lstoning if you want to hear open strings used in rock. Start with Van Halen | andi Onthese albums, ‘open strings are used to make blues and pentatonic licks sound original and cutting edge. Furthermore, you wll hear the dynamic use of other techniques that require open strings, such as whammy bar divebombs and pure harmonics. ‘74 GuitarTechniques January 2008 USING OPEN STRINGS MHTNE OPTI (Bars 1-21 Keep the etting hand fingers arched thoughout thispassageas [Bars 8-1] Each ofthese vatations alternates betweon feted notes and this involves fretting each second string ete withthe tipof each finger. _openstrngs. In bar, each calenote i played twice, and each open sing Is (Gare 4] The provioustwo bars featured an openstring thatwasthinne: played twice. [a bar, each ated thee-note sale mati separated by one than the one being fetta: whereas her, fretted nates onthe fet string ate open-stringnte, an bar 10 contains the same approach only hein on ‘ccompaniedby dione notes tom fatter open eacond.tring-very Indie! the cand ting Hare 1-2 feature a descending scala sequence in which [Wars 5-6] Here an ascending sequence where ech feted three note motif the scale nates areal arranged four notee pe-sving Each feted $ : — £ ¥ May 2009 Guitar Techniques 67 ASSURE UNE G Eu IA Section! The chords used In this section have the following interval [10-23] Hee, they are merely played as block chords configurations: Emaddbe [5-25] Fosust (34-71 Fraddeit [4-2-6], [c Section] The chords used inthis section have the following interval (Cous2 [4-24], FIC (3-21 Here each chord is arpeggiatedand,an the configurations: Cma/E (5-56), Craddl [5-25], FmTaddb6 533, repent, some thythmie variation sapped tothe orginal picking pattern, C9#S5us4 [4-3-4], Cesusd 4-2-5. In contrast to the previous two sections, IB Section! The chords use in this section havathe folowing interval the chords inthis section are accompanied by a melody using single- | configurations: Cad [3-4-2], Cmay7#5 (3-4-2, Fm6/C 10-23,Ctaddil_ note embellishments to each chord wortt HOLDING: (A) emacs rosuspo mada causa Jan maa = Fesusts masa tt cws2 Freie caaue comairts Freie causa caugasars oe cavgadatt coiseuss omeia (68 GuitarTechnigues Mey 2009 EU ESTAS A TN @OC Ge Advaned INFO WILL IMPROVE YOUR KEY: Am 1 Harmonicmaor knowledge TEMPO: 94bpm | Eumpovse with new ales (CD:TRACKS 44-48 |e Harmonicmajrmoes LAST MONTH WE started toexplore the harmonic majorscale.It'slike a major scale with a flattened sixth degree. Alternatively itean also be viewod asa harmonic minor scale with a major third (hence the name), We focused on waysofextraeting chords from this scale; however, this month we are goingtofocuson soloing, 70 Guitar Techniques june 2009 ‘ower and Secrets. it Harmonic major scale,_ Our seeker of all things creative, Shaun Baxter continues his look at the harmonic major scale by focusing on single-note soloing. Although litle known and rarely ever used in rock, the hharmonicmajor scale has been used in jaz fora long time, and in classieal music for centuries. Late jazz saxophonist and bebop pioneer Charlie Parker would sometimes use ittoplay over ‘minoriiV I progressions that ended ina maj7 chord. Thisis because the notes of Dmi7hs, and Cmaj7all exist within the’ harmonicmajor scale Furthermore, some rock/fuasion playerslike Allan Holdsworth also use this scale. With its unique intervalic properties, learning the hharmonicmajor scale will allow you toexpand your tonality. In fact, ithas its own modal system, Yesthat's right, there are seven ‘modes; of which have their ownusesin various forms of improvisation We will be exploring each of these modesin the future; however, for now have included them here for your reference (see Diagram 1) Anyway, lt’ just focus on the first mode, harmonic major. ‘There are various iathematical methods for systematically extracting various diads, triads, arpeggios, pentatonies and hexatonie scales from any seven-note scale (and we will also be covering thisin the future); however, initially suggest you experiment with the scale using the following approaches (judging them with your ear, and making a note of your favourite ideas) Scale passages (using'steps'less thana, ‘minor third) (© arpeggios (using leaps’ of a minor third or greater) Interval skips (such as thirds, fourths ete) © Upper pedal tones Lower pedal tones String skips ete. ONTHE cD (} TRACKS 44-48 ‘© The introduction of chromatic ‘passing’ or approach notes £@ Various forms of articulation (such as, ‘bending, and whammy techniques) © Rhythinie variation Asa guide, you can refer to Diagram 2 (full neck diagram) and Diagram 3 (which features all seven three-notes-per-string shapes). Note that these two diagrams ean also be used when experimenting with any ofthe modes ofthe harmonie major (the root notewill simply bein a different place each time), When experimenting with C harmonic ‘major scale, itis important to note that the following arpeggios are all contained within the scale: Abdim7, Bdim7, Ddim7, Faim7, GandGy. played over not intended asa faithful impersonation of Allan Holdsworth; however, itdoes adopt many of his approaches. Generally, the solo focuses on producing melodie passages using notes from the harmonic majorscale, rather than just playing combinations oflicks (a common ‘temptation when using the pentatonic scale for blues or rock soloing). Furthermore, there isa conscious ‘attempt to create variation throughout the soloby using a balance ofthe different sort ‘of approaches that we discussed earlier (upper pedal tones, string skips ete). GG Although rarely ever used in rock, the harmonic major ‘scale has been used in jazz for along time, and in classical music for centuries 99 Came Qe 6 8 8 TRAGK RECORD Every single Allan Holdsworth album (and there are many) i crammed with examples of his unique and beautiful proach to single-note soloing. My personal favourites are One Of A Kind by Bil Bruford, and, of Allan's many solo albums, Wardenclytfe HARM NIG MAJOR SGALE REMUS GUINGPO anes ARMONIC MAIO PLEUEEEENS MODES OF HARMONIC MAJOR |, ~ MODEL HARMONIC MAJOR ‘MoDet:OORIANBS DET G Mb EC MODE le PHRYGIAN b« Phen me cb ee Ile ¢ [Tee nace sets te alent) e 108 WH lenge eee Cites Is L l @ [Bar 3] We se the use of an upper pedal note. A’pedal'tone is note that ‘one keeps refering backto. In this case, the Fon the 13th ret ofthe fst string splayed in between each ane of a series of ascending lower notes [Bar a) The ast beat ofthis bars composed ofa series descending thirds emacdbs Fesusts . oe aed J=10 Within the scale (BtoB, then E10) [ar 5] Like bar 3, here is another example ofan upper pedal tone (inthis ‘ase, the G on the 15th ret ofthe fst string) only this ime, the lower notes played in between it follow a descending sequence, meant a2 | 18° ai gy ge ! 12 12 | | | » June 2009 GuitaTechniques 71, YUP Ss | {ar 9} n thisbar, the combination afa string skipand a wide stretch || help to create some ear-catching wide intervals. [Bar 10} Here, part ofthe melody splayed by sliding from note tonate with one finger Tis gives ta vocal lection, and is something that we willbe exporing in the near future in Creative Rock. [Bars 11-12] The melodies in these barsare based predominantly | Droundthenotes ofanFméarpeggic... FA CD, Hex 5 09 [Bar 131 This bar shows the development ofa particular hythmic moti, Fesusts coud marc couse mari ‘This makes the ole sound more cohesive, because the ides are related. [Bar 14) Towards the end of tis bat, me see the action ofan Eb chromatic passing note (approaching the Efrom a zemi tone below [Bar 15] Here, the same three-note melodic motifs repeated down in major third intervals. This introduces a rogue Eb note, but this work or ‘two reasons: The melodic dea is strong enough forthe listener to accept it and the Eb resolves immediately roan E note. Interestingly al ofthe notes fom this passage could also be considered as being derived from CCaugmented scale: C, D4, £,6G, Ab, 8, Frade tt 72 Guitar Techniques ne 2009 Cine [Bor 16] With this string skipping section fand anyother idly part ofthe [Bar 21-23] Some simple melocc ideas are used to wrap up the sol, sol) you may ind iteasierto ply ifyou dont pickthe ast noteon each mostly based around intetva skips ofa scale fourth Note the use ofa Db String (se a hammeron or pll-offnetead, Passing note used in bar 23, {Bar 17-19] Bar 17 marks the star ofa string'skipped section, comprising (Bars 24-25] Finally the solo firishes of with another mixture ofscle- anine-note sequence thats systematically taken down through the based and arpeggio-based playing, The nal arpeggio's Csu32 (COG Scale (by shifting the idea lately, dovn along the length ofthe nec {Bar 20] More sting skips used here, but. ike bars 4 and 16, some sieteenth-note triplets ae added fer ehythmic variation. 18-20-1645 ee | 16 caugeatt1 Emradd>6 10-7. = 0 er 12-610 107 cofseues coaved mai cougeast1 1916-4 1916 eta a 15 Emrodd> cojsaues coset cmap 15 — 15-141 June 2009 GuitarTechniques 73 Se Ue Extracting triads CATT aTTO @ OOO @ Advanced Fo ‘WILL PROVE YOUR KEY: Am ‘av:eoF vas omitinasale ‘TEMPO: 98bpm _|tHamosistength (CD: TRACKS45-50 |eanprovsing wing tds MANY PLAYERS improvise using steps (intervalsofa tone orless). Triads, however, are ‘composed ofbigger intervals called leaps Chr ‘orgreater) Ths vertical approach increases harmonic content, helping melodic ideas to sound stronger and fresher Inissue 122 welooked at extracting triads fromone key. But this month we illestract triads from the various scales associated with different chord types. Trindsare the simplest Every scale you use is full of triads, or three-note chords. Our creative guru Shaun Baxter shows you how to use them creatively when improvising, chord forms, and there are four ‘main types: major (1,3, 5) minor (, b,5) augmented (1,3, #5), and diminished (1 b3, bs). The easiest wayofestracting triads froma seven-note scale isto play'every other note’ from any givenstartingnote. For example, in ADorian(A,B,C,D,E,F#, G)you couldstart fromAand play A,C,E, Gyjumpingover Band D):these threenotes form an A minor triad. ‘Youcould adopt thesame approach from Band play B,D, F, which ‘would giveyoua Bm triad. Getthe picture? Consequently, when Jearningtofind triads within scale, .wellstick tothree-notes-per-string seale patterns ists these logical fingering allow you to apply ‘this method more easily and help to settings ingrained much quicker Improviserskeep ther playing fresh by being elective with their note choice. Rather than thinking in termssof A Dorian all the time, i's possible toproducea greater contrast by using. say, aG major triad asthe basis ofone ea, and B ‘minor pentatonifor another-both things exist within A Dorian, but have quite different favours. Infact, by gradingideasin terms of note density its possibleto divide the various ingredients within each sealeinto the following categories: dads (two-note ideas), triads (three- note ideas), arpeggios (four-note ideas), pentatonic scales (five-note ideas), hexatonie sales (sx-note ideas). InGT164 westudied ways ofextracting pentatonic scales fom the various seven-note scales most commonly associated with the chord typesin the following progression: ama 11 rea Am? 11 Pa This month we're going to lookat extracting triads using the same backing track; next month ‘we ill explore the progression ineven more July 2009 GitaTechniques 73 UNA Een CDTRACK 46 {Bar 6 Bending and vibrato help the rads to sound more expressve.Inthis notes act as secondary triads, and tend t be used when passing fiom one of bar the ast bends played in anticipation ofthe Am chord at the startf ba 7. the primar trad to smother The passage in thisber shows a types example {Bar 1 Listen tothe contrast between this passage and what'sbeenpayed0_ ofthis aitcomprises along connected sequence of datonc iodo Nove te fa.5us wads have an open and modern sound when comparedtotradtonal_ se ofthe" agaist 4 thythmic device again, 4,3,S-type trad. This bar features heathy mixofhythmicsub-dvsions(n_ (Bar 14} Thre are two paints of interest ere Fst. note how ear-catching this case soteent-notes and shteenth-note tiles 'stohear these minor expegios topped and taled by chromatic passing notes | arta] There aeseven 1,3 Stype triads foreach scaein Diagram 1(a iad froma semitone below) Secondly note how, inammisor Vi promession tne | __ stemming from each note ofthe scalei;however youwil notice tat some of _ same idea played over the fm eho nti ese Bn7U5) canbe sted Up the triads ee shown in brackets. Thats because the mestimpertant vias inat_minor the and used over te V chord tn his case 7a Fray, vatecrth; In brackets stem from te Ist, 3d Sthand 7th notes of each chordetcall_ not ples have been used once more In orer to eieve the monotony ofthe ‘hese primary wads, whereas thetriads that tem fromthe 2nd, thand th _shteenth ote fel that predominetes throughout the bulk of te sols | | Ba ‘74 Guitar Techniques July 2008 LESSON: GR UE Extracting arpeggios f.. na This month Shaun Baxter concludes his series on creating distinct musical flavours by extracting a four-note arpeggios for scales. @OOC® Advanced NFO \WILLIMPROVE YOUR KEY: Am linge penis TEMPO: S8bpm s1Hameniestengh CCD:TRACKSS661 Ovni oeatiy IMPROVISERS MANAGE TO keep their Playing fresh by being selective with their note choice. In previous issues we have studied ways ofestracting triads (three-note groups) and ‘pentatonic sales (five-note groups) from the seven-note sales most commonly associated ‘with the chords in the following progression: a7 /1 Bees / PAR /AMT JAE Asmentioned last month, thisparticular progression provides avery efficient study ‘7a Guitar Techniques August 2009 because apart froma dominant 7, contains allthe main chord-ypes used in Western improvisation (ana, and alt) “Thismonth we are gong to look atwaysofextracting andusing arpeggios (four-notearoups) from theseales associted with ech ofthe chords inthis progression. ngsingle-notelines composed of arpeggios wil give your playinga harmoniestrength thats rising when ustplaying consecutvescal steps. The most onion fournote arpeggios are Seventh-type arpeggios, which reall varitionsona,5, configuration (seeDiagram 0, Try constructing each one ofthese arpeggios from any sivenstarting noteusingthe interval sridshown in Diagram "Toseehow toestractseventh- ‘ype arpesgics from ascal, ets ook atADorian. Aimtothinkofthenotes fA Dorian ashing continuous sequence that canbe started at any point (ee Diagram 3). Next ive Star from an note, anes playthe first, third, fifth and seventh notesin the sequence, wel getourfirst arpeesio: A, CF, G (Am arpegzio). Togetthe nevtarpeagio, ty thesame thing starting froma Bnote:B,D, Fe, A mr arpeaio. ‘If we continue this process, we gt the falosng sequence ofseventh-typearpegsos thin A Dorian: Am, Bry, Crna, D7, E07, nbs, Gina Although, seventhtype arpeggiosarethe smost commonly-used four-notearpeasis, itis also possible to play thefolowinginterval configuations:1,2,9,5 oF 1,3,4,5-Inorderto name cach arpoggio corrects, we need ta dary abitofmodem interval terminology. Intermsof interval, mest musicians think ofgandasbeingan octaveabove2 and 4 respectively; however, thislasical approach to intervals doesnt alwaysapply to modern harmony. Generally 2and arereferedtoas2 and whentheyreplacethetirdinelthera onTHE cD {} TRACKS 56-61 ‘chord orarpeggio, regardless othe octave. Note that these intervals arealso preceded by the prefix ‘sus, meaning suspended. 1,2,5 (susa)ors, 4, 5(6us4) Butwshenathirdisalso present, 2and 4 are referred toas 9 and 11 respectively, regardless of the octave, ie:1,2,bg,5(madda) or1, 3, 45 (madd). So the frst two 3, 2,3, 5arpeggios in ‘ADorian should benamedas follows: 1 2/9 bs 5 A BC E(Amaddo) 1 be/do bs 5 BCD. Fe(Bmaddbo) And the frsttwo_, 3, 4,5 arpeggios in A Dorian. should be named as follows: 1 by au 5 C DE (Amada) 1 bg 4/5 B DE Fe(@maddn) Asan exercise, try workingoutllthe other 1,2, ‘3,5and,3,4,5typeampeesios within A Dorian, and givean appropriate name or each. Diagram q shows shortist of suggested arpeggios for various scales, and Diggram 5 shows how this same shortlist ean be applied ‘overthismonth’s chord progression. ‘Most ofthe suggestions are usedin this rmonth’ssolo study; however, they are only ‘suggestions. You must both workoutand try ‘outall the various possible arpeggios rom within each salen order to establish your own, preferences. Asa long-term aim, you could also ‘ty extracting arpeggios from the alternative list cofscales suggested in Diagram 6. Finally, note thatitisalso possible to extract 1,3,5,6-typearpeggios froma scale; however, these ean be ignored because they aremerely inversions ofthe 1,3, 5.7 type ones. For ‘example, in A Dorian, playing the fis, third, | G6 Playing single-note lines composed of arpeggios will give your playing a harmonic strength 99 GETTHE TONE ‘TRAGK REGORD Rather than particular artists or recordings, | woud lke to suggest some further reading. Try Artful Arpeggs hy Don Mock (REH Pro) and The Frank Gambale Technique Book Part 1& Part 2 (Manhattan Music). alsa recommend that you look atthe following {Instructional videos: Jazz Fusion Improvisation by Scat Honderson (Warner Bros) and On Improvisation by John Scofield (OC). fifth and seventh notesfrom (A.C, ,G), ‘would giveusthe same as playing the fst, third, ith andsisth notes from C (C,E,G, ). (Once youhaveextracted an arpeggio from a scale, experiment wth ways offingeringt (three notes on each sting with string skips; tneonoteson onestrings and one note on ‘ARPEGGIO. INTERVALS wa? was 7 | wars was Za 1 ms x may Be 37 m7 mis 05 in? ‘cHono SEALE ARPEGGIOS nap rom oot ‘mad arp. fom root In? ap.rom sth ‘7b arp frome Baa tp from bth a 17 eprom #2nd Inai#sarp rom maj ‘Rage a.m mar (sameas paying 745, pegpotrom eo. Farptrombsth ‘m7 arp. fromb7eh maiz Uydian Fra. rom maj Imin7b5 Lecrian —7bSarpfromroot 3409p from bi smaarp hem bth LO (General) This study iscomposed ont sy of rpaggio-eated ideas. However, some arpeggio notes have been approached using acromaticnotefrom ‘asomi-tone below (chown i square brackets) Tis smerly to stings them from the notes ofthe arpeggio: they ae not'ghoet notes and must be Payed.as lous asthe other notes nd held forthe fullnte val inctedin the EXTRAGTINGARPEGGIOs KMEEOINGTO | | another over several stings one note per sting uni you have established ingeriasthat feelright Als, seehow your favourite players | finger arpeggios and the tecniquesthat they | employ toexecute them smoothly at speed. | | Final yntgetbowbeatey alte posites here You will probably discard PGE POSE Semitones Go Se ee) PEG Aharmonicminorscale.8. CO EGE) nai -APhryglan domirantscale-(A.84 CDE FG) ‘Ahallholescale (Ab BE,CH,DF. EF.) ‘tone scale, 8b C808. 6) augmented scale -(AB9,Ct,F.G8) Boaugmented scale Bb,C#,D,F;GBA) am7bs BLocin nat2-(@,CH,D.E FGA) BDovianbS-(B.COERGEA) Bloviannaté-BCOEFGEA) Aaugmentedscale- (.88,C& E.G) erate Phrygian dominantscale-(E..GE.A.8C.D) Ehalhole scale (EF F88,G4,A,6,C¥ 0) titone sale, 8,0) augmented sale (EFA, GF,5,C,O¥) augmented sale- G8, A.C DBE) fener anda illustrative that you Bnger like this 80% ofthem because not everything sounds ‘good. Butthe arpeggios youdoend up using ‘will become familiar patterns and wn'tseem remotely aademie: afterall, the minor pentatonic is alsoa picce of theory its just that you've lived with thatlong enough oritto seem like anold fiend.) PIE SCALESOURCE _ARPECIOS | am? | Acorn Amc. | Oiebeme — Aratsit te emaeees | Engrs ce emcees Deaugett (00.6.4 ebries dba bo (7b 89 OB Asupatocran (Rabon EaRS) m7 ‘Sm? OFA. Fra? HACE AmrACEG) Bmros(8.0.FA) Dmasasinve eA) Guaneee omar Ba} (8.0.6) Dm FAG bovian DEFsARO so tyaian BCnERCA "305 (8,0.F Fra? RACE DmacesD.E nA) erate “Gm (6, 80,0.6) AoralTAS hb, E.) fnanuget Abe 5.8) abriob, ovr aS Drmrbs(D. ABO) tacran (BCDERGAD supertecran (ener Ab Bb, C.0) Cnn transcription. A nth ast month’ trad-based slo, no solo ieealy compote ential of arpegao-based ideas, but this study should serve both asa useful example of what arpeggios can door your playing, [ar 1 used mythumo tohold dvi the fist note the slo, uti’ not vital en? avis ‘Avoust 2009 GuitarTechniques 75, MSTA VIN UHG EXAMPLE: Rar 3-4) arr in this atl, suggested that you investigate the arpeggios || _witin some suggested atternatve seals. This section hasbeen composed Using ewoarpegelos that have been extracted from O meloce minor (6, 6.A.8, C# namely Dm ado and 7. The two arpeggios work well together, because they setup avery powerful V7tolm maton known a8 perfect. Cadence: the embodiment of musial tension and leat, andthe bac ofa ‘Western harmony). Incidental, by now, youhave probably noticed tat not allthe notes ofan arpeggio need tobe played when usingit asthe bois of your ideas Fray, the Ab note towards the end of bar sured as a hvomatic Spproach othe flowing Ante. {Bar 6 Note that there ate two chromatic approach notes used inthis br Ab leading tA, and De leading 10. [Bar 811 putthis phrase inthe soo jst vo you could see that arpeggo-besed Ideas dont need to be spectacular three-octaveaffers inorder to work ‘maces a7 Bimal? cma? ‘Dmaaeo Ens pS Tess esa Te evs Gaeait RAR AY vee Tal ‘76 GuitarTecniques August 2009 ante Ex [Bar 9]tFyou want toswitehtotheneckpichup for bo 10, youll probably combination of sweep picking and lego). need to play helasttipletin thisbar using fetng-hand tapsinorcerteleave [Bar 15]JustasD melodie minor was usedin bars3 a4, ths bor we have thepicking hand re tooperat the pickup selector sitch. ‘woarpeggios extracted from A melodic minor, 8, CD EF, GH. Again the [Bar 14 inthis bar the Bros arpeggo shape soften played usingaB noteon 7 and Amada arpegalos wok ogethe to create an effective Vto|metion ‘the Toth et ofthe thi string, and the flowing Dm7B5arpeggio shape with Finally notice how the cb nate shown in brackets is used as achromat ‘2Dnote onthe 13th ret ofthe third sting however, lomitedthese because approach nate the following Enate cn the bar's our bec. Tematesit easier to ply through tese shapes at speed inthis

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