30 Part IV: Technique Example 9 (Development 3) ‘More variations on the original pattern.COMA TED won MOPS SES 4 —— (Both notes vit.) Japa ean J iN J N J AKExample 9 (Development 4) Aor deciding on ¢ target tempo, it may be edvantegeous fo tart with slightly fatter tempo marking, For example, if you set 208 beats per minute in your sights, moke an attempt to overshoot this new goal tempo by turning the melronome fo a higher seting of about 216, This forces both hands to work harder than ever before. Then back eff the metronome again lo 208 and see if things fall nto ploce. Development 4 is the same four measures os before preceded by six measures of single-note subdivisions and followed by a lick based on the A minor pentatonic. The tempo of the recording is J = 208. Notice the A minor pentatonic [A C DEG) bonus lick ot the end _—————— = SS Se ee ite eee ee Japa \ al Jao eR = = - ae + HtNTT | = | ov i ee E | |ixample 10 Use this next exercise lo demonstrate how speed ond accuracy can be developed by using a metronome to monitor progress. This jime 1 éth-note triplets (six notes per beat) derived from the E minor scale (E F# G A.B C D) are arranged in a three-note- per-string pattern. 6 6 d 647 (ya). -------- 1 locoaw t:la mA Technique amd] Sequemaes) Another good way to develop speed isto work on small isoloted seole fragments or segments which con be practiced and perfected before they are combined into longer, technically challenging runs. In a sense, this approach is like taking small bites ata time out of a complex lick instead of cttempting to start right off swallowing it whole. The fragments that follow, coffer a handful of melodic pattems that can be practiced over ond over with the eventual goal of incorporating them into longer, flowing licks to be used in improvising. Example 11 Fragment 1 Fragment 2 Fragment 3 Fragment 4Fragment 5 Fragment 6 Fragment 7 Fragment 8 Fragment 10 | | |Fragment 11 Fragment 12 Fragment 14 |Fragment 15 Fragment 16 42 Te t : } Fragment 17 5 Fragment 18 5 Sepa eg Cti(<é‘é‘«C ee[EMEC ed Example 11 (Development 1) Each of the previcus scale fogments were in the key of G major (G A B CD E Ff). These patiore can be played anywhere on ihe heck; bahieeri ry Ivvo oiige’ Theyrcan’ clos be Moved up or divin Giahlig in c vsclle lup/eloan in ball step) er diatonic (within the parameters of a chosen scale} fashion. (chromatic) (diatonic)Example 11 (Development 2) Scale fragments can be practiced with ¢ metronome es discussed earlier, or by playing the exercises over and over in free time beginning with a slow tempo, gredually increasing the speed, then backing off o a slower tempo again. In a way, this ccceleration and deceleration i similar to the rewing of an aulomaobile or motorcycle engine. Try varying the degree of dynamics in conjunction with these changes in speed. In other words, play louder asthe tempo increases, and quieter as things slow dewn, On the recording fer the following example, the tempo Auctuates from approximately 58 beats per minute, to eround 200. Freely Play 7 times play 8 times a Example 11 (Development 3) ‘Another way to develop speed is 1 play the exercise over ond over, maintaining a slow to modercte tempo, and then periodically blasting cut a quick furry of note. In other words, jog fora bit, then sprint, then go back to jogging This is @ wey to buld stamina, as well os speedExample 11 (Development 4) ‘Another fun thing to do wih al ofthese exercises, since they/re arranged in similar 1éth-note or Téth-note ipl patterns, is tory spontaneously combining a few of them. Try to be os imaginative os possible. The following example is performed in tree time. Freely SS eee SSS OSS ESS SS SS SSCLUE APer esExample 12 ‘As mentioned before, each one of these fragments can be used in the context of an extended run. The example that follows takes the patierns used in Fragments 4 end 6 from Exemple 11, transposes them fo the key of A major (A B C4 DE Ff G8), and incorporates them info @ longer sequence of notes, playing them on different poirs of strings, 79 0 w 0 7 -Example 13 1x sequence of notes is derived from combinations of both Fragments 10 and 11, a well as Fragments 15 and 16. The difference here is that the subdivision used fo perform this passage is consistenly 16th notes (four notes por beat) and the fragments are once again transposed fo the key of A. (ascending)7 Example 14 Here's another example using versions of Fragments 17 and 18 in a 16th-note string-skipping passage transposed to the key of A mojor.This is not the typical three-note-per-string scale fingering, this sequence slays in the same position in order to facilitate string skipping wihout awkward postion shifts but note that the E on the 3rd string 9th fret is repeated by the E on the 2nd string Sh fret. However, the two E notes are never played back to back inthis lick since sring skipping is involved. A mojor scale (5th position) 2 eee oe - = @ = = | EE s z = = = | t=; a a 4 Example 15 Here's ancther sequence based on one ofthe fragments used earlier. .Example 16 The next example demonstrates how all the previoutly learned scalar techniques can be applied to improvising using primarily D dorian (DEF GAB C) and D acolian minor (D EF G A.Bb C) scales. These types of runs are most effective when used as fills leading into or cut of primary melodic ideas as a means of building dramatic tension. Listen tothe recording firs, then go back ond try fo implement some of these some types of ideas into your own playing. ATbS Dm? (Drum fill)Gmil ATsas 8 a Tne a> sad. releaseFEM ARC Toe) ee tee FEE fr one te tete. ———e nose “i eo a e5a wy t:Td mA] Right Hand Technique clving Anpeggias) ‘One of the more clfficul iechniques for mos! guitarists is using alternate picking through arpeggios since most of the notes wihin common arpeggio shopes are arranged in a one-note-per-sring manner. When using alternate picking, there will be © few instances that require the pick to exectute an up-stroke on « lower string afier a down-stroke on a higher string. This “inside the sting” picking technique is the most difficult pickstroke to master. ample 17 The following elude focuses on thi awkward technique. in general, whenever presented with an area of technique that needs to be refined, creating an etude (musical exercise) can make the procate much more enjayable. Bm 5 5 3 a Gm 3 Bm Coaj(#1l)Japan eau J N J u Japa ak Cain Em Pmaj(#11) ByDdEa ‘While the previous exercise focused on one type of picking situation that typically arises when clternate picking through arpeggios, the exercise itself didn’t eclually use erpeggio shopes as the means of devaloping this technique. Now apply the picking pattern in Example 17 to an arpeggio passage. The difficulty becomes immediately apparent in the arpeggiation of G mojor tried (G B D) in the 7th position. mov om Vom V simile Example 18 Instead of practicing this some arpeggio aver and over, the following etude adds some variely by incorporating major and minor crpeggio shapes into the chord progression: G, Bm, Am, Em7. There are also some ricky string skips37 Legato means “to be performed smoothly, without any break between notes." This is typicolly indicated in the notation staff by a slur which oppears os a curved line over or under a series of notes of diferent pitches. This type of technique is extremely demanding on the left hand, as it is required to arficulaie each no'e by a series of hammer-ons and pulloffs, with minimal picking octivi Practice the fellowing scale fragments independently, and then apply them to longer legato runs. ideally, each of these fragments should be practiced for one minute each, without stopping, connecting each fragment info the next. Example 19 Fragment 1 Fragment 2ee eh ame ere Tae Pree Example 20 These Fragments can alto be played on any sting, using © wider sietch between notes if desired. They can clso be played in ny potion and any key — dlatonicaly or chromaticaly. play 5 times Wey 62 a a play 3 times ee aa os eS play 3 times play 4 times play Tames ee ee ee ene Jaq ek )0Ofli(«éC memplay 3 timesCREM Res Example 21 Now it's time to take the fragments studied in Example 19 and put them into expanded sequences through scales using very litle pickinga Eee This exercise uses two different three-no'e-per-string fingerings for the A major scale (AB Cf DE Ff G#). The ascending patiom is based on the fingering in the 5th position, while the descending pattern uses the 7th position fingering. These are both depicted in the example below. A major scale (5th position) A major scale (7th position)ATE Te Example 22 The sequence learned in Example 21 con be performed between ony lwo positions using three-note-per-string scale fingerings, or even using random patterns that shift up or down in half-steps without making any reference to a specific tonal area. The latter is demonstrated in the example thet follows. Freely 7 Ce ee Pa as siaPEER ee ee ed‘This legato pattem isin the key of E aeolian minor (E F4 G A BC D) and requires a voriely of shifts from the let hand. Example 234 is written out in steady sixteenth notes (four notes per beat) in an effort to make the passage more accessible. This exercite alko employs fretboard tapping, which is indicated by a “+” above the notation and TAB staves. Here's the ‘example as itis performed slow, out of time. | | |Part Vil Example 23B ‘When this exercise is performed to a steody puto, i yields on orray of unusual rhythmic subdivisions {noke the groupings of 5). When waitten out in his manner, it becomes apporent thatthe ascending figure is based on « singular one-octave legato Sequance that is then transposed up into the guitar's higher register. In analysis ofthe first measure, notice how the notes confined to this measure are repected verbatim in the second measure, only one octave higher, then in the next higher ocewe in the third measure. Each octave is demonstroted independently in the audio. This is followed by the tapping section which is confined to the fourth bar. The remaining bars involve a descending version of the original one-bar lick transposed fo each lower octave. = 184 jcR eset eee :Another lype of left hand tech Yeconomy-picking.” Typicelly, fest urry of notes, is offon referred to os “swoop picking” In some crces this technique is sometimes colled technique is applied to arpeggiated shapes, os opposed to scalar examples, 1o achieve a In the exercises that follow, each arpeggiated shope involves primarily one note on each sting. When played simultaneously, some of these shapes may even be reminiscent of some femiliar movable barre chord shapes. However, when using them in conjunction with sweep-picking, itis importont fo separate each of the notes played by the lafthand by pressing them to the fretboard one note at c time, Don't let each note ring info the next so as to avoid creating a chordal sound. The “sweeping” «aspects the central component of this technique. When attempling fo execule any sweep picking passoge, iis important that the pick articulate each string separetely, in sync with the lefthand, instead of using a srumming motion, To accomplish this, ther picking the first note with © downrstroke, allow the pick 1 fall into the nex string so that it rests up against it. Next, push ‘he pick right on through this higher string and coniinue this motion until the pick has passed through each ofthe strings indicated, using one smooth “sweeping” motion. For the descending version of on arpeggio shape, use this same type of motion, beginning with on up-stroke on the higher string, pushing through to each lower adjacent string. Example 24 va throughout Annan YY Y simileixample 25 ‘These types of shapes are not unlike some of the finger patterns encountered in the earlier warm-up exercises where “mirror shopes” were used. Here’s the some exercise transferred to the next lower set of strings. ya throughout Example 26 This next exercise invelves the some types of shapes encountered in the previous examples, only each lft hand finger is stretched to access a different arrangement of notes. In the accompanying audio, this exercise is played up to speed at 176 beats per minute. b by mann VY VY V dmileExample 27A Here's one more sweep:picking exercte. This one is opplied to Wiadic arpeggios. The nole sequence ofthis exercite implies the chord progression D, Fil, E/G#, A. Example 27A depicts this exercise in steady eighth nole: and is an exact transcription of he eudio. Notice that the Ft and A arpeggios are the some fingerings used in the picking warm-up exercises in Example 4. D Example 27B ‘When played to a steady tempo, in order for each new chord change to land squarely on a beat, the descending versions of these arpeggios involve the performance of some odd rhythmic groupings. Notice how seven notes are crammed into the space of one beot on beats 2 ond 4 of each measure. £Wt lame D4 thordal Technique Up to this point, much of the material has focused on technique and developing chops. Now it's time to switch gears and concentrate on building an effective chord vocabulary Example 28A The excmples that follow provide an armful of ever-faihiul ‘power chords” (root and fifth), and mutated by including certein notes for added color and drama to the besic chord progression. Below is o common tequence of “power chord” BS AS DSA GS ES Example 28B “Power chords" can be voiced in a few different ways. Since there are only two different notes in a chord (root and fifth), that automatically limits the number of variations the chord can have. Chord 1 below is a basic B “power chord” which consists of ‘the root (B) and its fifth (Fa). The B can be doubled one octave higher (Chord 2) as one variation. The fifth can also be played on the lowest sounding string, yielding the chord B5/F# (Chord 3). i 2 4, BS BS BSF o os = Pes