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    Claudio Pietronik - The Art of Hybrid Picking Masterclass 2 PDF

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    THE ART OF b=} Ube dled. ai lc] MASTERCLASS lor TreleM tice 4 yaa er) PUSS Claudio Pietronik THE ART OF HYBRID PICKING MASTERCLASS: Pune) INTRODUCTION "imiSeslc MASTERCLASS WHAT IS HYBRID PICKING? Hybrid Picking is a technique that involves use of both pick and fingers on the picking han. The hand position is very similar to the one used in regular fingerstyle; the only difference is. that in this case the index finger is not used as itis already holding the pick (with the thumb) That leaves the middle finger, ring finger and in special cases also the little finger. Before we go any further, i'l be useful to learn the special notation we're going to use in this masterclass. This appears below the Tab line, The standard classical notation for picking goes like this, P: Thum (pulgar") Index (‘indice”) M: Middle (*medio") A: Ring (‘anular It's also a tiny window" into Spain's part in classical guitar history! We won't be using P or |, 2s those fingers are holding the pick, but we also have the litte finger. \WWW.JAMTRACKCENTRAL.COM Wc "HEAT Fat PNG This is more specialised {not a part of tracitional classical technique] so the abbreviation used can vary. Somatimas you'll see C, but we've gone with O, the standard abbreviation in Guitar Pro. Hore's the full sot of symbols welll bo using, \cluding down and upstrokes for the pick. THE FINGERS With your fingers (M, A, ©) you can pluck the strings in two ways. With a “free stroke” you simply pluck the string, and the finger continues its natural path towards the palm of your hand, With a “rest stroke" the fingers rest lightly on the strings adjacent to the one you're picking. Ifyou play 2 downstroke on the D string, your middle finger is resting on the G string, After plucking the G string with your middle finger, your ring finger is resting on the B string, This, approach gives you a greater awareness of your hand position. | recommend that you learn how to play a note with the pick and then Immediately rest your fingers on the next strings, so that they are ell ready to pluck their strings when required. Depending on how you play, you can also develop the ite finger (you willl ind some examples In the Advanced level), The technique Is the same as the use of middle and ring finger; you Just. have to grab more strings! The fingers generally move only in ascending direction thraugh the strings. For example, you hit the D string with the pick, and then your M and A fingers are resting on the G and B strings, ready to pluck them. When descending through the strings (B, G, D)| use the “opposed rest stroke": while | pluck the B string with my ring finger, my middle finger comes to rest on the string, I then pluck the G string and my pick is ready to hit the D string, Obviously the exact combination of strings will vary from lick to lick, out basically it's very important to rest the fingers on the strings wherever possible, otherwise you risk unconsciously using a frae stroke, losing control of your hand position, ‘As | said, in the Advanced section of the masterclass you'll find a few exercises to start developing the use of little finger but only with an ascencing motion through the strings (EADGBE) which is most important to start with. The fundamental element that characterises hybrid picking technique is the grouping of strings. You need to gain an awareness of which strings your hand is covering. Normally, this will be three or four adiacent strings (pick-middle-ring or pick-middle-ring-Ittl).If your pick Is playing the A string, youll know that you can immediately hit the G string with your ring finger.. no need to look or even think about it. I's all about moving boyond e deliborete, analytical process, s0 that the movements enter your muscle memory. That wraps up our introduction to the fundamentals, so we'll see you in the beginner section! |WWWI.JAMTRACKCENTRAL.COM, Claudio Pietronik THE ART OF HYBRID PICKING MASTERCLASS: BEGINNER ale Uap aa ei Plnhd=i:91>y PICKING MASTERCLASS 5 WARM-UP LICKS Let's take @ detailed look at how the rest stroke technique is appliad in the warm-up licks. WARM-UP LICK *: As you play the downstroke with the pick, your middle finger comes to rest on the D string, After plucking this note, you complete the pattern with @ hammer-on, WARM-UP LICK 2: This is essentially the samo concept, with the one difference. The middle tinger rests while we pick the first note, but then waits for the hammer-on before plucking the 3rd note et the string change. WARNCUP LICK 3: Here we introduce the ring finger, playing a triad across three strings. As you play the downstroke with your pick, your middle AND ring fingers should be resting on the D and 6 strings, ready to pluck their notes. The triads follow the chord progression in the backing, with three bars of C# minor and one bar of Fé major. The rhythm cycles through Bth notes, 8th-note triplets and ‘6th notes, but without disturbing the flow of ascending triads. This mears that your fingers and pick will be landing on different parts of the beat: this 's great for developing your rhythmic awareness and fluency. WWW.JAMTRACKCENTRAL.COM WTC {HEAR YOR PUR NASEREASS WARM-UP LICK 4: Now we move beyond a simple sequential pattern, adding en isolated ring- {finger stroke to the basic pattorn from Lick 3. For this string-skipping move (A-pick-A),| suggest you just rest the ring finger on its string In preparation, WARM-UP LICK 5: Remember haw | mentioned the Importance of string groups inthe introduction? Here's @ good example. We're alternating between pick-M end pick-A, but moving from strings A-D-G to strings D-G-B. After those warm-ups, lot's move on to some more demanding exercise: 10 EXERCISES EXERCISES 1-3: The fist three exercises consist of overlapping triads moving in intervals of a 4th, moving through the A Lydian scale (A B C# D# E F# G#, In the first cese the notes are arranged with the root and 2rd on the E string and the Sth on the A string. Welll define this fingering as "2-1" (meaning TWO notes on the lower string and ONE note on the higher string), As there are only two strings in the pattern, we will use a downstroke on the first note, with the middle finger resting on the other string, ready to pluck its note after the hammeron. In Exercise 2 we have 2 "1-2" fingering pattern, so you really need to make sure the migcle finger is resting in position, ready to pluck the second note. And then in Exercise 3 the three notes are arranged in the format “1-1-1. When picking the initial downstroke, we nead to nave both middle and ring fingers resting ready on their strings. EXERCISE 4: This exemple is built on an A major triad adding the #4th (D#t) and 2nd (8), We're alternating the pick with both M and A. EXERCISES 5-8: These licks are all based around C¥ minor pentatonic (C# E F# G# B). One basic Key for learning is the use of mini-patterns, which can be transposed all over the neck through the scale. This allows you to really work on phrasing in small chunks, rather then studying really long patterns, Applying the mini-pattern concept to pentatonic scales, we notice that one of the most ‘common ways to expand the phrasing Is by averlapping groups of 3, 4, and 5 notes. The concept is simple: just start from eny note on the scale, play 3, 4 or S notes in ascending (or descencing) direction and then executing the same pattern from the next note in the scale In Exercises 5 and 6, we have groups of 3 and 4 notes in ascending direction, while the Exercises 7 and & are similar but in descending order. As you can see, we alternate between "1-2" and “2-1” fingerings simply because of the two-note-per-string layout of the scale. EXERCISE 9: In this exemple, based on C# minor pentatonic, we have some legato passages. ‘This means you need to hold your middle and ring finger in their “ready" positions. EXERCISE 10: This exercise Is built on three strings, using a 7-note pattern. Notice how we use two different fingers for the notes on the 2nd string, because the pick moves up to the 3rd string, so the whole hand position shifts WWW.JAMTRACKCENTRAL.COM WTC THEAROr HRD a MASTIRCASS 10 LICKS Now we startto put these techniques into practice in some “real world” musical situations. The licks are played over the same backing tack as the full solo, but I've used different parts of the backing: LICKS 1-3: Part A (0.00 to 0.23) LICKS 47: Part B (0.23 to 0.35) LICKS 8-10: Part C (0.35 to 0.57) LICK 4: Notice how we use the same picking pattern (M-M-pick) twice in the first bar. The pattern almost repeats on the next phrase (with the bend) ut the descending movement is interrupted by the arrival of a C# (6th fret, G string) at the beginning of the second bar. Look at the isolated phrase below. Here are two note groups divided by the change in direction: the first six notes and the last four. Normally we would ascend through the strings in order pick, middle, ring, ittle (on the strings D, G, B, E). However, the rule may be broken if there's more than one picked note on a string; one of them would be played with downstroke. In this case, that happens on the G string, so the middle finger (not ring finger) then takes over the B string. ++ + LICK 2: The starting part contains the same rhythm used for the beginning of Lick 1, but with wide intervals of diatonic 4ths. LICK 3: Here is a way to use @ minor add9 arpeggio. I's also an interesting demonstration of how the rhythm end phrasing influences the picking patterns you use. Try to play through the first bar in just 16th notes, without the longer notes. You will notice that the upstroke on Git longer works, and as a result, the direction with which you hit the E at the beginning of the second bar will change. |WWW.JAMTRACKCENTRAL.COM WTC HART OF FYRO nN ASTIRASS LICK 4: Now we're into the A Lydian (A B C# Di E Fé G#) part of the backing. The lick opens with A major end B major triads. Wetch out for upstrokes. Throughout this example you'll see a mix of alternate picking and hybrid picking. You will find situations where you could use hyt picking, but in some cases, just to get a different sound, | haven't decides to use it. Try playing the lick using hybrid picking in all possible situations. One thing | highly recommend is to write phrases plan the picking pattems before even playing them on your guitar. This will allow you to have more control over the logic and choice of technique. LICK 6: Within this phrase we find two particular casos that deserve some attention. At the beginning of the first bar we find a string skip from E on the G string to C# on the E string. | could have used hybrid picking here (downstroke on the G string, ring finger on the E string} but I chose to use a downstroke and an upstroke. LICK 6: This lick starts with alternating Amal and Bra] triads in inversions using fingering 1-2, but... have also have inserted an upstroke into each pattern (see the isolated example below). This is a perfect oxample of the alternation between the use of upstrokes and the midcle finger of the right hand, Try to extend the concept to any triads or groups of three notes using fingering 1-2. SS + F404, LICK 7: Here's a string skipping pattern that uses downstrokes on the G string alternating with tthe ring finger on the high E string. This is a great exercise to train to attach only the ring finger. LUCK 8: This is mostly built on C# minor pentatonic with the occasional addition of A and D# notes, depending an the underiying chord. WWIWJAMTRACKCENTRAL.COM WTC HART oF an ne ass LICK 9: The whole lick is built on the arpeggios corresponding to the chords inthe backing track, played in groups of four notes (quadriads). The fingerings of these quadriads can be 244, 1-24 or 14-2 and they all work with hybrid picking, using pick-middle-ring and a hammer: on wherever there are two notes on the seme string, In the Intermediate section you will find several examples of quadriads. LICK 10: Be careful with the first two bars. Here we have four groups of four notes each, all using C# minor pentatonic but with different shapes. The first one is distributed with fings 2:2, the second with 1-24, the third with 34 and the fourth with 14-2. FULL SOLO Last up comes the full solo! Take your time with this, bare in mind all the concepts we've Covered In this volume so far. Be on the look out for any new and interesting lick ideas you can add to our own hybric picking repetoire and really try to focus on building a strong fundamental base for the technique, so we can add to it later as we build up your skill level ‘throughout the masterclass course. Enjoy, and we'll see you in the intermediate section! PSS. Scroll down to find the next volume! Claudio Pietronik aiE THE ART OF ie MASTERCLASS: PUN 5 ‘| : INTERMEDIATE “uch ile MASTERCLASS 7 WARM-UP LICKS Just like in the Boginner section, we're going to start with some warm-up licks. These work con the basic physical movements that you'll need to master for the rest of the intermediat= section. WARM-UP LICKS 1-7: Each lick features three quadtiads within one octave in the key of C major, played in ascending {and descending cirection. They‘ played ina loop, changing rhythmic values every two bars... 8th notes, 8th-note triplets, 16ths, then returning gradually back to Bths. Hyou understand that a triad is @ set of three notes a 3rd apart, a quadriad is four notes arranged a third apart. This glves us a 7th chord, and all the quadrlads In these seven licks have diatonic 7th arpeggios from the key of C major. Lick t has Fraj7-Am7.Cmaj7, Ex2 has G7-Bm7b5-Dm7 and then the pattern continues. There are more quadlads later In this masterclass; thay'e a great way of building licks, especially when you want to work with chord tones and extensions, Notice how the ascending phase is very simple to understand because each group of four notes is played over three strings. We're playing a downstroke on the starting string, middle finger on the next string and ring finger on the final string, WWW.JAMTRACKCENTRALCOM WTC cae Now, we heve three possible fingering petterns for the four notes in ¢ quadriad (244, 14-2, 1-2-)and you can see all tiree in action in Lick 1, The first four notes are 2-14, with two notes Joined by a hammer-on on the E string, then one note on tho A string, ono note on the D string. Then the next four notes are 11-2 end the next four notes are 1-2-1, with the hammer-on (the 2) on the middle string, Therefore, we also have the same fingoring pattems when we descend through the quadrieds, {and this impacts on our picking patterns. We can catelog them definitively in order to study how the hybrid picking is applied. 12-1 DESCENDING: Ring finger A) on top string, downstroke and pull-off on middle string, downstroke on bottom string {to allow the middle finger to prepere for the next quadriad descending) 4412 DESCENDING: Middle finger (M) and pull-off on top string (remomber we're starting from 2.as we're reversing the pattern to descend), upstroke on middle string, downstroke on bottom string (allowing the ting finger to get in position for the next quadriad) 244 DESCENDING: Ring finger (A) on top string, downstroKo on middle string, upstroke downstroke (no pulloff this time) on bottom string. This final note is then the first downstroke of the ascending pattern, Here aro the ascending and desconding patterns, isolated as an exercise... WTC Toro ees 4 PENTATONIC LICKS Pentatonic scales involve a lot of the same fingering and picking movements es the quadriads, as they usually work in 2-note-per-string patterns. When playing two notes on a string, you can pick both or use hammar-ons and pul-cffs. LICKS 1-2: The first two phrases involve S-note groups, ascending end descending within the D minor pentatonic (0 F G A C), Here's @ more intensive exercise, using all the S-note groups within the pentatonic box shape... LICKS 3-4: The last two examples use several groups of notes In ascending and descending direction. 2 LEGATO RUNS Here are two long, ascending legato phrases in minor. Pay attention to how the strings are grouped, with regard to the hybrid picking, Note that the full petiern Is 12 notes, so It repeats half way through bar 2, but In this case we start with a pul- off instead of picking the first note. The practical result ofthis is that your (gicking) ring finger can bein position much earlier. WWW JAMTRACKCENTRAL.COM WTC HEART 9 HYBRID PING MASTERCLASS Alternetively, you could prectise it ike this, always picking the first note when the pattern repeats... DESCENDING RUN ‘The exercise is built mostly around ade arpeggios... Bmadd9, Gadd, Aadd9. The only exception Is the F#addil in bars 4 and 8, Try extending concept to a pentatonic scale. 1s aa eg a 2 eae ee EEE HH HHH OF 7 QUADRIADS QUADRIADS 1-7: We worked on quecriads in the warm-up licks; if you cecall, they're basically the four-note equivelent of triads. In these licks, we're applying the same set of picking and fingering patterns, but working with the inversions of a single arpeg: Through the seven examples, we work through the seven diatonic 7th arpeggios of the C major scale (Cmaj7, Dm7, EMT, Fmaj7, G7, Am7, Bm7b5). AS an exemple, Quadriad 1 starts with the 3rd inversion (B-C-E-6] moving to the root position (C-E-G-B), first inversion (E-G-B-C) and second, inversion (G-B-C-E). As the pottern repeats, the rhythmic velues speed up and then slow down agein. With the use of inversions, we now add the 2-2 fingering to our previous set (check out the first four notes of Quadriad 1), Once again we can devise a standard picking pattern for each ‘ingering, As | mentioned in the beginner section, working systematically like this can really focus your technique. 2:2 ASCENDING: downstroke, middle 1-241 ASCENDIN' jownstroke, middle, ring 2-44 ASCENDING: dowmnstroke, middle, ring 4-2 ASCENDING: downstrake, middle, ring WWWJAMTRACKCENTRAL COM WTC "HEATHF WT Rou msTHGAS STRING SKIPPING LICK ‘The way | generally play this kind of string skipping triad lick doesn’t make much use of hybrid 1g. 'm only using my middle finger on the second note of eight. However, this is not the conly way. | propose two more alternatives in the image below, so you can choose the version ‘that best suits the sound you want to get from this pattern. tw 10 LICKS Now we start to put these techniques into practice in some “real world” musical situations. The licks are played over the same backing track as the full solo, but I've used cifferent parts of the backing: LICKS 1-3: Pert A (0.00 10 0.16) LICKS 4-6: Part B (0:16 100.31) LICKS 7-10: Part C (0.31 to 0.46) LICK 1:F Lydian phrase where the triads of F major (F AC) and G major (G BD) are often mixed. Also, try experimenting with a G Mixolydian pentatonic scale (G EB C DF) over the F Lydian backing. If you're getting on well with the pentatonic phrases wo've already covered in this section and the Beginner sacticn, try applying those hybrid picking patterns to this naw scale. For example... WWWI.JAMTRACKCENTRAL.COM WTC HEART OF BRD PENNE WATCUAS LICK 2: This lick features Fmaj7 and G7 arpeggios plus an ascendi 1g sequence lick based on thirds. Take some time to work on the very first lick {an Fmaj7 arpeagio) and consider how many alternate picking patterns you could use... + + + LICK 3: The first two lines use an F Lydian pentatonic scale (F AB C £) played with different descending groups. From the third bar onwards we find an ascending G7 quadriad (with just one added € note) played in groups of 3, 4 and 5 notes. LICK 4: The exercise opens with a Dm triad in string skipping and then passes to the same ‘iad In second inversion in descending 1-1-2 form. LICK 5: In the first bar you'll see some wide intervel jumps, useful for isolating the middle and ring fingers. In the second bar, check out the upstroke with the pick on the first G nota. As | said before, you may decide to stop the lagic of hybrid picking when you went, as long as you are aware of It and can return to the “rules” when you prefer. LICK 6 in the first bar there is a Drm? arpeggio with the addition of the 9th (E) played in groups of 5 and 4 notes. Referring to the CAGED system, the erpeggio we are talking about is in C shape. So let's look at how to extend the concept to ather arpeggios from the D minar scale. WWWI.JAMTRACKCENTRAL.COM ITC TF oa MATGUSS LICK 7: Pay attention to the phrase in bar 3. There's a mixture of hybrid picking and alternate picking. Both techniques have their own sound, so it's good to learn how to mix them to your liking! For a more hybrid-picked approach to bar 3, try this. LICK 8: The first phrase is based on a Bm add9 erpeggio with the acdlition of the 4th interval (E). LICK 9: Here is 2 simple example with 2 pedal tone, to focus on the alternation of the pick with the middie finger. LICK 10: The first two bers are entirely besed on a G Lydian pentetonic (6 B C# D Fé) whict also the 4th inversion of the B Hirajoshi scale. This is played in groups of 4 with the exception of the first group, which has 5 notes. In bar 3 thore is an A major triad played in various inversions in +-2 fingering. FULL SOLO Last up comes the full solo! Take your time with this, bare in mind all the concepts we've covered in this volume so far. 8e on the look out for any new and interesting lick ideas you can add to our own hybrid picking repertoire and reelly try to focus on solidifying the techniaue, to help make it an everyday part of your own playing style. Enjoy, and we'll see you in the advanced section! PS. Scroll down to find the advanced section! ITC Claudio Pietronik THE ART OF MASTERCLASS: ADVANCED MASTERCLASS ADVANCED Were going to be expanding on some of the fingering and picking Ideas that we covered in the Beginner and intermediate section, but gradually adding more pattems in order to increase ‘your fluency with hybrid picking. There's a lot of systematic work here, and you may be unaccustomed to looking st your licks in such precise detail, with any new technique, i's good to deal with this stuff as early as possible, so the movements become instinctive The main difference with this section is that wel going to start using the Riile finger (indicated by O under the Tab) to pluck the strings. 8 PENTATONIC LICKS This time we're going to dive streight into the pentatonic licks, which are an evolution of the work we've done on pentatoric licks in the Beginner end Intermediate levels. PENTATONIC LICKS 1-8: In these licks, we're playing different note groups and pattems, at slow and fest speeds. There are simple groups of five in Lick 1, and groups of three with string jumps in Lick 2. WWW.JAMTRACKCENTRALCOM WTC ‘HARTFORD A MASTIREASS In Lick 3, 'm playing four-note groups, but alternating between 2-2 and 1-3 forms:the Lick 3, while Lick 4 features a 10-note group gradually moving up the neck. Lick § has a descending scnote pattern spread across three strings, and Lick 6 is all about speed, with a simple repeating pattern, In Licks 7 and 8, we move to long phrases using chromatics. On the subject of nate groups, try experimenting with phrases bult fram different combinations of note groups (ascending and descending). This is not about the number of notes per string (Ike the 1-2 or 14-2 fingering patterns we've talked about before}, rather, I's about the number of notes moving in one direction bon Ln sean 1b eserer 5 TRIAD LICKS While quacriads can often provide patterns that sit very comfortably with both hybrid picking and legato techniques, triads are often more difficult to incorporate in improvisations, because of the wicer interval. You wil find patterns commonly performed with sweep picking adapted here, where possible, for hybrid picking technique. TRIAD LICKS 1-5: Licks 1 and 4 are examples of how to civide the strings into useful groups to understand how and when to use right hand pick and fingers. For pattems using six strings (as in Lick 1) we. group the six strings es 343: pick-M-A on strings E-A-D and then pick-M-A again on strings ‘WWW.JAMTRACKCENTRAL.COM WTC "eA nnn STIG G.B-E, With a fivo-string pattomn (as in parts of Lick 4) we group the strings 2+3: pick-M on Strings A.D and then pick-M-A on strings G-8-E Why 243 and not 342? Because we know that on the D sting we have not just one picked note but also a hammer-on and this allows us to take a breath to start easily with the pick on the G string. 2 ADDS LICKS To form an add® arpeggio, you simply take a major or minor triad and add the Sth (same note as the 2nd). So, for Aadd®, you take the A major triad (A C#E) and add the B note. Normally you'd add the B in the next octave (above the Sth) so you'd have A C# E B, but you can also add the B os the 2nd, between the root end 3rd (A B C# €). To create a minor add9, you just, use the minor triad instead (Amadd9 is AC EBor AB CE). LICK 4: This exemple uses two minor add9 arpeggios, F#madd9 and C#madd®, To give more color to the arpeggios you will find an addition of 4th and brth intervals, LICK 2: Now we encounter our first use of the little finger of the picking hand. The arpeggios are all major end minor edd9, following the chords in the backing track. Now, when hitting the first note with the pick, we now need to make sure that three fingers (M, and O) are in position, resting on their allotted strings. Pay attention to the jump made by the pick on the fifth note of each pattern (after the O) as thas to skip from the D string to the high E string. Rather than keeping the picking hand in a fixed position until after © plucks its string, | suggast thet you start slowly moving the pick (therefore your thumb and index finger) towards the palm of your hand WHILE the M, A and O are doing their jobs. 10 LICKS Nov’ we stert to put these techniques into practice in some “real world” musical situations. The licks aro pleyad over the same backing trec as the full solo, but 'vo used different parts of tho backing: LICKS 1-3: Part A (0.00 t0 0.32) Licks 4-6: Part 8 (0.32 to 0.47) LICKS 7-10: Part ¢ (0.47 t0 1:18) LICK 1: We're piling in with our newfound little finger picking ability, so take care phrase in this lick. Wore using two groupings of 4 strings: EADG and DGBE, This moans two complete cycles through pick-M-A-O, with the resutting skip of the pick between the low E and D stings. LICK 2: Atthe beginning of the first phrase we find a fast C#mm7 erpeggio through two octaves played with two pick-M-A cycles. Subsequently after a descending Gé minor pentatonic (Gé B C# D# F#) line, we find an application of a B major add arpeggio (8 C# Dit Ft) in bar 10 - W/W JAMTRACKCENTRAL.COM Wc ‘HEAT eMC MASTS moving through three octaves with the same 3+ fingering, and covering five strings between the 14th end 23r¢ frets. LICK 3: This lick opens with a long fast phrase in C# Dorian (C# D# E F# G# A# 8) although you'll see that a lot of the time only the minor pentatonic notes (C# E F# G# B) are used There's also a couple of chromatic passing notes, [At the end of the bar 9 we find another application of the little finger of the picking hand on a major add9 arpeggio (Badd in this case) LICK 4: Ater e first long A Lydian phrase, bar 5 opens with another long phrese in C#m. Always pay attention to finger grouping as we have two groups using the litte finger at the beginning. Ifit seems strange or unnatural to attach all three of your fingers to their strings (while waiting for the D#-€ slide at the end of bar 5) | suggest anathar solution to you [At the end of the lick we find a long, high-speed phrase with legato and quadriads (Bm7, £7) moving in 4th intervals. LICK 5: Contrary to what happened with the little finger in Lick 4, here in the second bar |

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