TL my Srl St / a * i) Gustavo Assis-BrasilHYBRID PICKING FOR GUITAR By Gustavo Assis-Brasil mpi 2103 Garin Rss Brae International Conyrignt Secured All Riubts ReservedHybrid Picking for Guitar Published by Gustavo Assis-Brasil Music Copyright © 2005 by Gustavo Assis-Brasil International Copyright Secured All Rights Reserved Fourth Printing - 2007 No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. Book Design: Marta Ferreira Copy Editing: Max Kennedy Cover Photo: Gustavo Assis-Brasil Photos: Cristiane Soares, Gustavo Assis-Brasil CD recorded at Altitude Recording Studio in Rockland, MA USA Engineer: Eliot Bayless ISBN 0-9774387-0-1 Printed in the United States of America ’ Please do not make any copies of this book! This work is the result of many years of research and dedication and it is an independent production. If you like it,Hybrid Picking Exercises Groups of 2 strings Groups of 3 strings Groups of 4 strings Groups of 5 notes Adjacent Strings - Adding the left hand Combined Exercises - 6 notes Arpeggios Melodic Pairs Hybrid Picking + Alternate Picking Hybrid Picking + Legato Voicings Harmonic Exercises Pick and Fingers Simultaneously Repeated Notes lines Hybrid Picking Lines Hybrid Picking 12 Tone Lines Comnositions Study #1 Study #2 Study #3 Across The Fenway ‘Sem Partidas Next Week Jaywalker Charts Groups of Strings Chart Hybrid Picking Permutations Chart ‘Author's Bio 123HYBRID PiCKING FOR GUITAR hybrid picking technique has been used by a large number of guitarists for years. Brett ‘ed, Carl Verheyen, Danny Gatton, Shawn Lane, Wayne Krantz, Steve Trovato, Albert Lee, Jerry Donahue are just some examples of people that have combined pick and fingers play. However, as no complete methods have been developed on this subject yet, each r has adapted the technique to his own style for use in different performance situations. ughout the years, I have developed my own systematic way of practicing this technique. Started practicing the hybrid picking technique 8 years ago, when I was still in college. Thave a classical guitar background, it was really hard not to use the fingers of the right to play the electric or the acoustic guitar. I felt that polyphony, independent voices, ical guitar repertoire, Brazilian guitar styles, and jazz were all essential aspects of my ing. These styles cannot be played using only the pick. To feed my needs, I started to Jop hybrid picking. After successfully applying my own approach to my playing, I decided present the concepts to my private students. I was very pleased to see that my method id be useful to other guitar players, and that conclusion made me write this book. use hybrid pickis hybrid picking you can use two approaches at once. 1g only the fingers of the right hand or just the pick limits your playing. 19 the fingers of the right hand is a good way to play the guitar. However, using the fingers will limit your ability to explore some guitar techniques like alternate picking, sweep funk-style rhythms. Some players use the index fingernail as a pick. Sometimes using technique will result in breaking the fingernail in the middle of a performance, causing e inconvenience. Another factor to mention is the thin timbre of the fingernail when used @ pick, especially on acoustic steel string guitars. The main issue regarding the pick is that majority of guitar players are good at playing with it but have limitations playing two or independent melodies at the same time (aka counterpoint). Some wide intervals are to play, especially when they have notes that skip strings. As guitar players constantly to deal with polyphonic musical situations like counterpoint, melodies with bass lines, onized scales or sequences, walking bass lines with chords on top, classical guitar pieces much more, I felt that it was necessary to come up with a method of playing with both and fingers. That's why I believe the best option for guitarists that want to use all tech~ es combined into one remains hybrid picking. In this way the main purpose of this book to present a way of playing the guitar more efficiently, and it is mainly directed towards rists that use the pick exclusively and want to expand their playing horizons. ‘The best option for guitarists that want to use alll techniques combined into o1 remains hybrid picking.(a San The book's design is modern, easy to understand and the student doesn't necessarily need to know how to read music. It is recommended that the student already has some experience with music theory (chords, scales, arpeggios) and at least an intermediate level of technique is necessary to take full advantage of all chapters without any difficulty (well... almost any). All examples are presented using standard notation and tablature. My intention in writing this book is not changing people's ways of playing. I just want to present a different and more efficient alternative for playing the guitar. Choosing the right pick: ‘One of the most important things to consider when choosing the right pick is what type of material is used. Some picks produce a strident sound. Some others just produce sound from the string at the moment of attack, not interfering much on timbre production. The best way to choose a pick for the hybrid picking technique is to compare the sound of your fingernails with the sound produced by the pick. For me, the best ones are the Jim Dunlop Jazz III (red) and the Pickboy model 150 T came to this conclusion after trying more than 150 different shapes and materials. Right hand - Nails and angle of attack: When I play, I use a mixture of fingertip and fingernail. To do so, I dedicate special care to my nails. Long nails are recommended for the right hand, Not too long though. Try to keep your nails slightly shorter on the side that touches the strings. The nail must have a perfect round- ness with no irregular corners. Proper care of your nails is the best way to prevent them from breaking. Keep the nail edge very smooth with a file and ultra-fine sand paper. You can see my angle of attack in the picture below. I have chosen this angle in order to ob- tain the timbre I like the most. You have to choose your angle of attack by finding the timbre that you want to produce from the instrument because changing your angle will change your timbre as well.‘© Be patient! © Play all the examples at three different speeds: siow, medium, and fast. Practice with the metronome. Play slowly at first to make sure you are developing a clean technique. Gradually increase the speed, as you feel comfortable. © Most of the exercises in this book use 8" notes. However, you should feel free to vary their rhythms. You can also incorporate different accents, rests, different note durations, rhythmic displacement (starting on different parts of the measure), etc. © Always try to play musically, even when you are just playing an exercise. © Be unique and don’t copy anyone. Try to be yourself. Obviously you can get ideas from other players and composers (guitarists, pianists, horn players, singers, orches- tral compositions, etc.). But always remember to personalize any idea you get from somebody else. In other words, invert it, extend it, reharmonize it, transform it. © Always have a music notebook with you where you can write down your ideas, no matter where you are. © Never throw any musical idea away. You might like it next week, month or year. Gb h hf @ Have fun and love music!seooem HYBRID PICKING FOR GUTTAR- Gustavo ASsis-Brasl ‘Tablature (TAB) is one of the oldest forms of music notation. During the Renaissance and Baroque eras, much of the music for the lute (a medieval instrument in the guitar family) was originally written in tablature. Atablature staff for guitar has 6 horizontal lines, each representing a string of the instrument. The top line represents the 1st string, high E. The bottom line represents the 6th string, low E, The num- bers on the tab lines represent frets. The number "O" indicates that the open string should be played. When the tab displays a series of numbers stacked vertically, that means you have to play the notes at the same time. sacs: |‘D 2 @ © © Hl E B eB A E There are many advantages of using tablature. The main one is the accurate fingering that it provides. As you know, on guitar some- times we have several places to play the same note. That can be confusing at times, especially when using specific exercises. How- ever, it’s essential to be able to read standard notation as well. The tablature usually doesn’t have rhythms or any of the expression symbols you need for perfect playing.CC — = m = middle (medio) a= ring (anular) FP = downstroke c = pinky (cuatro) \ = upstroke‘The first four chapters were designated for you to focus entirely on your picking hand. You can use open strings or you can mute them by lightly placing your left hand or a rubber band over the first fret. Momemem smHYBRID PICKING FOR GUITAR - Gustavo Asss-ras‘Notice that for exercises 1 through 7 you have two options for your right ‘hand fingering. The first option is on top of the regular notation staff and the second option is on top of the tablature staff.HYBRID PICKING FOR GUTTA ~ Gustavo Assie-rastHYBRID PICKING FOR GUITAR - Gustavo AS-Brastae ue [HYBRID PIEKING FOR GUITAR - Gustavo Asse-EratHYBRID PICKING FOR GUITAR - Gustav Aass-rasiPICKING Exercises - Groups oF 5 NorEsGRID PICKING SESTTES - GROUPS CF SNES 1-5 NOTES / 5 STRINGS @=" @=" ® ®@ od c a mHYBRID PICKING FOR GUITAR - Gustave Aess- BrasADDING THE LEFT HAND This exercise uses groups of seven notes and intervals of Perfect fourths. In order to execute this exercise perfectly, you should use rolling technique in your left hand. When you play two or more notes successively using the same finger on the same fret, you should avoid hearing the previous note. This is made with a moveable barre, waving notes on the same fret. — * optenal fingering Ode @ PM omeac Boma ce mM mae 2 7 ———enn exvc on oarsmen noma Rimeen™ ss niammanmae charms rms ce nm 7 nav Yemen caomnny Ys wheame é a a so 7 7am roncro cri oo oethe following exercises with and without letting the notes ring.HYBRID PICKING FOR GUTTAR ~ Gustavo Assi-BrasThe following exercises consist oF melodic pairs of groups. Each group isa four-note structure. Most of them will work over chords and some are atonal. All pairs are modern in sound and intervallic. You can combine different pairs, change the rhythms, and also create your own.ain seemedsino enasiiedinnal rn con a JAll the exercises in this chapter use combinations of hybrid and alternate picking techniques.HvontD PICKING FOR GUITAR» Gustav Ass BrasNow, try the first 22 exercises from the previous chapter, Hybrid Picking + Alternate Picking, with legato technique for the second half of each one (second group of 8" notes). Below are the first three examples.he next three chapters will be dedicated to harmonic exercises using the hybrid technique. These chapters are extremely important since we play chords most of the time when we are not soloing. The first 24 exercises are based on finger and note permutations. Be aware that some of the chords won't have a label and sometimes won't have a harmonic function, since they are based on hand shape permutations. However, you'll be surprised with some of the sounds you encounter. Also try switching strings, positions, and stretching your fingers to neighboring frets. This is just a new way of discovering original voicinas, since the possibilities are almost infinite Frets / Group of Strings 1 23 4‘yBRID PICKING FOR GUITAR -HYBRID PICKING FOR GUTTAR - Gustavo As3e-Srshfollowing examples actually illustrate one of the ways that T first got started with the Hybrid Picking Technique. Some of them are based on techniques that Abel Carlevaro, one of the greatest classical guitar players and educators of all time, has created for the development of the classical guitarist’s right hand execution. Some of the exercises might be hard at first. The best way to practice them is by playing the top line first (with fingers m, a, and c) and then adding the bass note (pick). o @=c @=n @=a O=n @=m O=n eHYBRID PICKING FOR GUITAR - Gustav Ass Brash =FPICK AND FINGERS SIMULTANEOUSLYoo noucr ain Cone J ]HYBRID PICKING FOR GUITAR - Gusta ASSs-Bras ——HYBRID PICKING FOR GUITAR ~ Gustave Ass Brasad SSHYBRID PICKING Lines The next examples are based on lines that can be used in jazz improvisation and other styles. Make sure that you try the phrases over all the suggested chords. The best way to do it is to record yourself playing the chords and then play the lines over them. Playing the same phrase over different chords will change its color. Notice that some phrases are atonal. Also, try to write your own phrases using hybrid picking. © This line uses two triads: C and Gb. Tt sounds original and modem. Try the line over C7(b5), C7, C7(b9), C7(b5,b9), Gb7, Gd?7(b5), Gb7(b9) or Gb7(b5,b9). a he bee oe mem mom ms ; 2 — jaa — a - £ a x * ao z 7 3 * © This is a nice intervalic phrase. ‘Try this phrase over FA7(#11), F7(9,#11), Dm7, Dm6 or G7(add sus4). Ob nee fer a —_—_—S Mam oem © mo am a rs ——— Say rf o ‘Try this next phrase with and without letting the notes ring. Ga7, Em7 or Em7(9,11). rasan ___— = SS Ss <3 x — = SS oe @ Here is a phrase that uses notes from Am and Bbm pentatonic scales Tthas a nice polyrhythmic effect. Am?HYBRID PICKING FOR GUITAR - Gustavo Asses © This intervaltic phrase uses string skipping and open strings. Am? or D7 x @ Here is an exercise using octaves diatonic to the Key of Am cnme name MA moRmemme m @ m7 or d7 o ®“— ? @ Wide intervals phrase Ein m7, DB7a CA, £47, @ m7, 647, A7(9,3) oF Dbm7(05) Ot @ 5 @ eves of phrase #9. ee Bre hen 2 © ey, a7, Doran, ca7, Fa, rebar” @ The next six examples use wide intervals and *odd” meters. @ Em7, Am7, Db7alt, CA7, FA7, Em7, GA7, A7(9,13) or Dbm7(b5) Ga7 ‘or Bm7(b5)ws roncrname-comsmee © GA7, A7, Ems oF DbM7(b5) GaA7, A7, Em6 or Dbm7(b5) © 6m7, Gm7(9,11), Dm7, BbA7 or BbA7(9) ‘This line uses notes from the Bm pentatonic arranged in groups of five. C47, Em7(9,11), M7, D7(8), Ab7alt, Am6(9) © This isa simple sequence that uses the C major scale and intervals of 6ths. = am hm hm hm Om nama m hmmmvBaiD PICKING LINES @ Tris line uses € and D triads. E/D, D/E, Db7sus4(b9), Bm7, A(add4, add9) or Ab7alt @ This is an atonal phrase that uses symmetrical fingerings © Intervallic phrase in 7/8. @ Reverse of line #22 Ca7 or Am? a7 or AM? aHYBRID PICKING FOR GUITAR - Gustav Ass Bast @ Dm7, Gms, Bm7(b5), © ca7, am7(9), oF FA7(9,#11) i > @ @ © This atonal ine uses the chromatic scale and octaves by ®@ BPcmVMcRV memYrmemy RemVMeRV Dm7, Gm6, Bm7(bS), G7(13) or BOAT ° © This exercise mixes alternate picking and hybrid picking. Try also using legato on the notes, on the fourth string instead of alternate.@ Another atonal intervallic line using symmetrical fingering ale be @ This sequence uses the C Whole-Tone scale. €7(b5), 07(b5), E7(bS), Gb7(b5), Ab7(bS), BL7(b5) © This is another sequence but now we are using C Mixolydian b8, b13 mode (5th mode derived from F Harmonic Minor). €7(b9,013)smeonrncecane. comes “This sequence uses the C Diminished scale (whole ~ ¥2)- @ Em7, Am7, Ghm7(b5), 07(9,33) © Uoside / outside line that uses groups of 5 notes and perfect fourth intervals. fm’, Bn7, Abvalt, CA? or FA7 @ 17's is another inside / outside line that uses perfect fourths. ‘Am7, Gom7(b5), G7(13) or FA7 Amachmahmae hm aHYBRID PICKING LINES @ Here is a line that uses G and Db triads. It creates a very interesting sound, especially when used over Db7(9, #11) oF G7(b9,b13). © This line combines perfect fourths and b7 intervals. Amz, CA7, GB, Gm7(b5) or Db7alt @ Intervallic phrase that uses the E diminished scale (W- 1/2). E*7, G*7, Bb*?, Db*7, Eb7, Gd7, A7or C7 @ Ihis is a line that uses perfect fith intervals. Try it with hybrid picking for the first half and then sweep picking for the second. Bm7 or Em7 or rmmanm mv vee‘Am7, Dm7, BbA7, EDA7, FA7, @ The next three phrases use wide D7suis4, A?sus4 or Gb7alt intervals and odd numbers. ‘Am7, Dm7, BbA?, EbA7, FA, D7suis4, A7sus4 or Gb7alt @ Em7, A7sus4 or Ga7(#11) © Symmetrical fingering tine. Am? or CAT © 67, 07, Boa?