Sweep Picking And Tapping Licks

For this assignment we will be attractive at sweep-picking-and-tapping licks. This is abundant for continued arpeggios and fast shredding. Some ability in ambit acrimonious and borer is affected for this lesson. This is a actual avant-garde address and is abundant for spicing up a solo, but already you accept the abstraction of the address it becomes actual simple to learn.

First, we charge attending at sweep-picking. We will be application a accessory arpeggio in the key of Dm (or FMaj). The tablature is for a Accepted D-Tuning. That is a claimed alternative of mine, about you can acclimatize it to accepted E affability by abacus two(2) to the basal string(Low D).

Basic Dm Arp (sweep):

e|------------------13h17p13---------------------------|
B|----------------15--------15-------------------------|
G|--------------14------------14-----------------------|
D|------------15----------------15---------------------|
A|------12h17---------------------17p12----------------|
D|-12h15-------------------------------15p12-----------|
  ^(upstroke)             v(downstroke)

OK. This is the basic minor arpeggio we will be using. Now that we have addressed sweep-picking, it is time to address the tapping. We are still in the key of Dm.

This is a simple tapping arpeggio in the key of Dm.

Basic Dm Arp (tapping 1):

e|-10h13s17-h22p-17p13s10------------------------------|
B|-----------------------------------------------------|
G|-----------------------------------------------------|
D|-----------------------------------------------------|
A|-----------------------------------------------------|
D|-----------------------------------------------------|
  R        L   R   (R=Right Hand L=Left Hand)

An alternate way to do this would be to use multiple finger tapping.

For the left hand, remember that:
P=thumb I=first finger M=middle finger A=ring finger s=pinky

Basic Dm Arp (tapping 2):

e|-10h13-h17h22p17p-13p10------------------------------|
B|-----------------------------------------------------|
G|-----------------------------------------------------|
D|-----------------------------------------------------|
A|-----------------------------------------------------|
D|-----------------------------------------------------|
  R      LI LS    R

Master both methods before moving on. (Tip: The metronome is your friend. Learning advanced techniques is pointless if your sense of time is garbage.)

After mastering the sweep and the tap it is much easier to combine the two into an awesome sounding lick.

The first thing you must do is have your picking hand ready to sweep and ready to tap. If you are using a pick, (which I recommend) I suggest that you hold the pick between your first finger and your thumb and extend your middle finger. An alternate approach you could try is holding the pick between your thumb and middle finger and extending your first finger. Take some time to familiarize yourself with each position and choose whatever is more comfortable for you.

This lick is simple and does not rely greatly on the tap; however, this is a great place to start if you are new to this technique. Remember, this is in the key of Dm.

Dm Arp (sweep and tap)

e|-------------13h17--h22p--17p13----------------------|
B|----------15--------------------15-------------------|
G|-------14--------------------------14----------------|
D|----15--------------------------------15-------------|
A|-17--------------------------------------17----------|
D|-----------------------------------------------------|
  ^R                  L    vR

Be sure to be mindful of your upstrokes and downstrokes to make sure that you are indeed sweep-picking and not just picking each note.

This shape is just like the minor one above, except it is major. We are still in the key of Dm but the shape itself is a CMaj.

CMaj Arp (sweep and tap):

e|-------------12h15--h20p---15p12---------------------|
B|----------13---------------------13------------------|
G|-------12---------------------------12---------------|
D|----14---------------------------------14------------|
A|-15---------------------------------------15---------|
D|-----------------------------------------------------|
  ^R                  L     vR

With these two shapes alone you can create millions of lead lines and solos. The basic major/minor shapes can be transposed all over the fretboard and used over and over again in any key.

This next shape is a bit harder. It sweeps up as a Dm and concludes as a CMaj arpeggio

Dm-CMaj Arp:

   Dm                                CMaj
e|------------------13h17-h22p-17p13s12------------------|
B|---------------15---------------------13---------------|
G|-------------14-------------------------12-------------|
D|-----------15-----------------------------14-----------|
A|------12h17---------------------------------15p12------|
D|-12h15-------------------------------------------12p10-|
  ^R                      L   vR

This next shape utilizes more of the left hand technique. It utilizes a left hand slide. Try this with the fingers indicated below.

e|-------------13h17-h22p---17-------------------------|
B|-----------15---------------18-----------------------|
G|-------h14--------------------19---------------------|
D|-h12h15----------------------------------------------|
A|-----------------------------------------------------|
D|-----------------------------------------------------|
  LA     LM ^R       LM    vR

This shape is identical to the last one but with different fingering. Remember to experiment with all approaches and choose the one that you find most comfortable.

e|-------------13h17-h22p---17-------------------------|
B|-----------15---------------18-----------------------|
G|-------h14--------------------19---------------------|
D|-h12h15----------------------------------------------|
A|-----------------------------------------------------|
D|-----------------------------------------------------|
  LM  Ls LA ^R       LM    vR

This one uses the left hand to transition from one shape to another. The chords are shown above the diagram. Be sure to take it slow and make sure that your hands are where they are supposed to be when they are supposed to be there.

   Dm               Bb         C             Dm
e|-----10h13-h17h22s18p13p-6-----8h12-h15h20s22p17-----|
B|---10---------------------6---8-----------------18---|
G|-10------------------------7s9--------------------19-|
D|-----------------------------------------------------|
A|-----------------------------------------------------|
D|-----------------------------------------------------|
  ^R         L             vR ^R      L        vR      

Remember to practice these shapes with a metronome once you get them down so that your timing will be on when you put this in your lead playing.

Also, remember that these are just examples so that you get the idea of how the technique works and some ideas of how to move around and get some cool sounds with your guitar. You can take these ideas and step it up to get a real unique kind of sound, too. For instance, why stick to just arpeggios? Switch it up and try some pentatonic sweep patterns coupled with octave tapping. The possibilities are endless so don't just stop at the contents of this lesson; keep going and try your own shapes and styles.

More about → Sweep Picking And Tapping Licks

Few Methods Tuning Up Your New Guitar

There are a few altered methods to tune your guitar, and I will try to explain them all in this guitar affability lesson. I will additionally altercate the A-440 affability advertence for those of you who are not acquainted of the accepted affability reference.

A-440 Affability Advertence - this is the industry accepted for affability avant-garde instruments. The "A" stands for an A note, and 440 refers to the acceleration of the beating that leads to what we accede a absolute A note. The acumen is that all complete is vibration, and the acceleration of these accordance produces the angle of the sound. Abundance (or beating speed) is frequently referred to as Hertz, or Hz. So back article vibrates at a acceleration of 440hz, it will aftermath a accepted A note. You can use this advertence accent to tune your apparatus with.

As you bind your guitar strings they will beat faster bearing college tones. Back you alleviate them, they beat slower bearing a lower tone. The abstraction is to bout your A cord altogether to the A440 advertence tone. If you are application a agenda tuner as I am abiding best are, you'll artlessly tune until the tuner indicates that you are at A440 for the A string, or indicates able tune for added strings.

Tuning Advertence Tools - we acclimated to use a accepted affability angle to tune guitars and added instruments, which is a metal bar that splits into two confined that beat at 440hz and aftermath a advertence agenda back struck. Nowadays agenda tuners that apprehend the abundance accept gotten actual authentic and absolutely bargain as well, so that will be the appropriate affability accessories best for about everybody. I should agenda that it doesn't aching to backpack a affability angle in your guitar case, aloof in case your tuner batteries go asleep or you accept a malfunction. Affability forks are bargain and do not malfunction or break, bold you don't corruption them.

Comparative Affability - this is a adjustment of comparing the tune of one cord to another, and is advantageous for affability if you can get one cord in tune application a advertence note. It is additionally absolutely advantageous for blockage your tune bound and easily. What you will appetite to do is analysis the tune of one cord adjoin the equivilent agenda on the cord abutting to it.

For instance, the low E cord has an A agenda at the 5th affront which agency you can tune your A cord application a advertence note, and again tune the low E cord until the A agenda at the 5th affront matches the A cord that you already apperceive is in tune. This should beggarly that the low E cord is now in tune as well. You could again comedy the A cord at the 5th affront to aftermath the D agenda to tune the D cord and so forth. This arrangement continues with all of the strings except the B cord which doesn't chase this pattern, but is absolutely the 4th affront on the G string. Once you apprentice the chromatics and can name any agenda on the guitar neck, you'll apprehend why this is.

More about → Few Methods Tuning Up Your New Guitar

Fast Stick Drumming Techniques

Good boot techniques will achieve you a fast and able bagman like annihilation else. You can convenance for canicule on end with amiss address and still not be able to do what one hour of convenance with able techniques will let you achieve in agreement of acceleration and efficiency. (By ability I beggarly application the atomic bulk of beef activity as possible.)

This assignment depends on boot techniques discussed in the antecedent boom lesson. Therefore, you ability appetite to analysis it aboriginal if you haven’t done so already.

The key to fast stick address is the bounce. Once you hit the drum, the stick will artlessly animation off the head. Let it do so. Once the stick is up, advance it aback down, but never cull up. Let the animation accompany the stick aback up and do bisected the assignment for you. To advance bottomward on the stick, you’ll accept to cull your arm up first, but you won’t accept to force the stick up with you, it will do so on its own.

If you’re captivation the stick correctly, it will axis accurately about your basis feel as it bounces up, and will additionally be accessible to advance down. Don’t authority the stick too firmly, or it will not axis up. Ideally, you should authority it aloof deeply abundant to anticipate it from aerial out of your hand.

You can’t cull your arm up aerial back arena fast because continued motions booty time. So aloof use baby movements of your forearm, wrist, and fingers. The antecedent assignment mentioned that aggregate is a action of stick height, and consequently, to comedy fast you accept to cede some volume.

Now, go to your drums and convenance this address with a distinct achievement cycle by alternating the easily left, right, left, right… Start practicing slowly, and accompany your acceleration up while advantageous absorption to able technique.

Once you accept this address down, try arena a cycle as fast as you can. You’ll acquisition that you can alone sustain best acceleration for a abbreviate aeon of time. But that’s fine, as those ultra fast rolls are advantageous for assuming boom fills, which don’t aftermost long.

Tuning your drums deeply will achieve the boom active bouncy. So if you’re accepting agitation bouncing the sticks, abbreviating the lugs will achieve things easier.

More about → Fast Stick Drumming Techniques

Using Picking To Enhance Solos And Simple Sweeping

So we all apperceive that abridgement acrimonious is one of abounding means to advice you accumulate your acceleration and accurateness during decidedly quick passages. Today we’re activity to analyze how to mix abridgement and ambit acrimonious to aerate your techniques. The ambit acrimonious acclimated in this exercise is acquired from this lesson: Ambit Acrimonious Exercises, which uses my styles of simple sweeping, however, it branches absolutely off of the particulars.

Economy Picking

Economy acrimonious is basically befitting your aces in connected motion appear whatever administration you will accumulate going. When blockage on the aforementioned string, accumulate the breeze with adapted alternating picking.

The best way to advance this technique, I believe, is a three note-per cord scale. For Example

‘*’ means pick upward, otherwise pick down.      
*     *     *     *     *     *   * *   * *   * *   * *   *
e|----------------------------------------------------------------|
B|--------------------------5-7-8---8-7-5-------------------------|
G|--------------------4-5-7---------------7-5-4-------------------|
D|--------------4-5-7---------------------------7-5-4-------------|
A|--------3-5-7---------------------------------------7-5-3-------|
E|--3-5-7---------------------------------------------------7-5-3-|

My acumen abaft application the scales to activate acquirements this address is that added contest alone assignment on the appropriate duke from the beginning--picking the strings accessible and again affective on to a asinine address exercise. The two affidavit I would use a calibration are that:

1: Scales accord added applied use, and theory.

2: Abridgement acrimonious is candidly a acclimation and allocation act if this isn’t accomplished beeline from a beginning, the adeptness for the larboard and appropriate duke to assignment calm able-bodied is hardly hindered.

Economy acrimonious is accessible about everywhere for several reasons: it won’t affect your accent if you accumulate constant up and bottomward acrimonious and it takes little anticipation already it is accomplished well.

Economy Acrimonious acclimated with Hammer-ons and “sweep picking”

A down, up aftereffect I generally use in ad-lib solos to appearance off my adeptness to about-face in between. This is affectionate of a “cheating” ambit acrimonious technique, but it is actual advantageous aloof the same. For the abridgement acrimonious use, aces bottomward a pentatonic scale:

       * *   *   *   *   *
e|---8-5----------------------|
B|-------8-5------------------|
G|-----------7-5--------------|
D|---------------7-5----------|
A|-------------------7-5------|
E|-----------------------8-5--|

Note the odd picking at the very top of the riff. This is to help your turn around once you are ready to loop the lick.

The sweep picking is more or less a series of hammered-on eighth notes that fit in the blues scale and keep your fingers moving in very natural direction. With a basic knowledge of the blues scale, this should come quite easy.

e|---------------------------5-8-|
B|-----------------------5h8-----|
G|-----------------5h7h8---------|
D|-------------5h7---------------|
A|-------5h6h7-------------------|
E|---5h8-------------------------|

And honestly… this riff sounds awesome when you can play it really fast. Adding this will make it even more impressive sounding. Pick the last note of the lick, again for help with turn around.

Now, combining the two licks is a pretty basic feat. You start from the beginning of either lick and just, well go.

How I would probably use this:

                                 * *   *   *   *   *
e|---------------------------5-8-5-----------------------|
B|-----------------------5h8-------8-5-------------------|
G|-----------------5h7h8---------------7-5---------------|
D|-------------5h7-------------------------7-5-----------|
A|-------5h6h7---------------------------------7-5-------|
E|---5h8-------------------------------------------8-5h8-|

The coolest thing about this simple lick is it’s simple, versatile, and you can transition from it easily or use it to transition easily.

More about → Using Picking To Enhance Solos And Simple Sweeping

Two Hands Tapping Technique

Most of you are apparently absolutely accustomed with the cliched borer licks like fast trills, three and four agenda patterns, etc. Here I will appearance you some anarchistic but actual air-conditioned uses for this abundant technique:

First, the addendum in brackets are addendum to be ashen by the appropriate (or picking) hand. The accepted 'T' characters for borer would accomplish abounding of these examples actual difficult to apprehend and understand.

This archetype uses the 'reaching over' address which I anticipate was pioneered by Eddie Van Halen. Here, the appropriate duke holds bottomward a ashen agenda while the larboard duke plays legato curve on the aforementioned string:

Fig 1:
e|-15p13p12p(3)h12h13h15p13p12p(3)/(12)h15~
B|-----------------------------------------
G|-----------------------------------------
D|-----------------------------------------
A|-----------------------------------------
E|-----------------------------------------

Another technique involves using multiple right hand fingers to tap on the string. This is used by a few guitarists including Steve Vai, but Jenifer Batten is most famous for it (and is very good at it! )

Fig2:
e|-----------------------------------------
B|-0h12h15h(17)h(19)p(17)p15p12p0----------
G|-----------------------------------------
D|-----------------------------------------
A|-----------------------------------------
E|-----------------------------------------

This can be taken further to play piano-like arpeggios as in Joe Satriani's 'Midnight'. Here is an excerpt from that song

Fig3:
repeat 3X
e|-----------------------------------------
B|-------(12)-----------------------------
G|-----------------------------------------
D|-------------(12)------------------------
A|----9------------------------------------
E|-7---------------------------------------                               

repeat 3X
e|-----------------------------------------
B|---------(14)----------------------------
G|-----------------------------------------
D|-----11--------(14)----------------------
A|-10--------------------------------------
E|-----------------------------------------

There are many other approaches with tapping that can be used. Fortunately, tapping is an area of guitar technique that is far from exhausted, so feel free to be innovative.

More about → Two Hands Tapping Technique

Tapping As A Bass Technique

You ability accept apparent some acclaimed musicians such as Eddie Van Halen or Steve Hackett application a borer address while they comedy the guitar. Borer as a bass address is a altered appearance than best bodies prefer, but it can be activated as a way to actualize new sounds. For some people, it’s alike an easier way to comedy the apparatus in general. Jazz musicians in the 50’s fabricated this address popular, but it has been about for centuries—being acclimated with instruments like the banjo and alike the violin.

So what is borer as a bass technique? Basically, you aloof use the backbone of your fingers to tap the strings adjoin the affront to accomplish a sound. It’s about like hitting the keys on a keyboard. With abundant strength, you can tap added than one cord to accomplish a array of sounds. You can tap with one duke while your added duke is plucking, or you can alike agreement with two-handed tapping.

To adept this bass address of tapping, you’ll absolutely accept to body up the backbone in your fingers. Beginning guitar players ability accept agitation with it until they accept ability and able hands. You’ll additionally accept to body some appealing blubbery calluses in adjustment to adept the technique. If the strings are too high, accede blurred them to accomplish the borer easier for you.

Keep practicing and eventually you’ll adept this different style. If you use your imagination, the possibilities for borer as a bass address are around endless.

More about → Tapping As A Bass Technique

Some of Alternate Picking Technique

How do players like Yngwie Malmsteen, Al Di Meola, Steve Morseand Paul Gilbert aces so bound and cleanly? Hyper acceleration acrimonious abilities are the artefact of a logical, businesslike abstruse access based on abridgement of movement-playing the best addendum with the atomic bulk of effort. This album will advice you anticipate in these terms. With this mind-set, you'll be able to body an armory of smooth, fast, acrimonious licks that you can assassinate alike on your affliction day.

The best able alternate-picking contest are short, repeating patterns that focus on one accurate blazon of maneuver. Figure 1 is a acceptable beginner-level exercise for developing a bland accommodating tremolo acrimonious technique. Practice this exercise at a abstinent bounce (80-100 beats per minute) with a boom apparatus or metronome and try to accumulate the acrimonious motion on an even, aback and alternating even after leaping over the string. Relax your appropriate duke as abundant as accessible while gradually accretion speed. Watching your acrimonious in a mirror is a bio-feedback address that can absolutely advice you relax.

Gradually increase the tempo as you get better. You're smokin' if you can perform this exercise at 160 beats per minute. Don't forget to always use a clean tone (no distortion).

h hammer on
p pull off
\ slide down / slide up
tr trill
u upstroke
d downstroke


Figure 1

d  u  d  u  d etc
|-0--0--0--0--3--3--3--3--4--4--4--4--7--7--7--7-|-8--8--8--8--11--11--11--11
|------------------------------------------------|--------------------------
|------------------------------------------------|--------------------------
|------------------------------------------------|--------------------------
|------------------------------------------------|--------------------------
|------------------------------------------------|--------------------------


-12--12--12--12--15--15--15--15-|-16--16--16--16--15--15--15--15--12--12--12
--------------------------------|-------------------------------------------
--------------------------------|-------------------------------------------
--------------------------------|-------------------------------------------
--------------------------------|-------------------------------------------
--------------------------------|-------------------------------------------


-12--11--11--11--11-|-8--8--8--8--7--7--7--7--4--4--4--4--3--3--3--3------||
--------------------|-----------------------------------------------------||
--------------------|-----------------------------------------------------||
--------------------|-----------------------------------------------------||
--------------------|-----------------------------------------------------||
--------------------|-----------------------------------------------------||

Figures 2-4 are some cool, easy-to-execute, single string speed licks, designed to help improve your left/right hand synchronization. As you become familiar with each one's fingering pattern, try moving in onto another string. Every string feels different-not only are they different thicknesses, your pick attacks them at different angles. These kinds of licks are not only easy to pick at high speeds, they also sound (and look) impressive. Once you feel comforatble performing them quickly, you're ready for string-crossing.

Figure 2
d u d u etc
|-4-3-2-1-5-4-3-2-6-5-4-3-5-4-3-2-|-6-5-4-3-7-6-5-4-8-7-6-5-7-6-5-4-|-8-7-6-
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------


-5-9-8-7-6-10-9-8-7-9-8-7-6-|-10-9-8-7-11-10-9-8-12-11-10-9-11-10-9-8-||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||


Figure 3
d u d u
|-0-1-3-4-1-3-4/6-3-4-6/7-4-6-7/9-|-6-7-9/10-7-9-10/12-9-10-12/13-10-12-13/-
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------


-15-|-15-13-12\10-13-12-10\9-12-10-9\7-10-9-7\6-|-9-7-6\4-7-6-4\3-6-4-3\1---
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------


-4-3-1-0-||
---------||
---------||
---------||
---------||
---------||


Figure 4
d u d u etc
|-4-0-2-0-5-0-2-0-7-0-4-0-9-0-5-0-|-11-0-7-0-12-0-9-0-14-0-11-0-16-0-12-0-||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||

All the previous exercises, involve picking on a single-string-a fairly simple technique to master. String crossing is substantially more complicated. The goal is to arrange all the string crosses so they feel natural and comfortable. The number of notes to be played on each string and the direction of your first picking stroke (up or down) determine how easy or difficult a pattern is to pick. With a bit of thoughtful experimentation, you'll be able to find those patterns that work well for fast alternate picking-and weed out those that don't.

Figures 5A-C show three different ways to pick the same lick. The first way (fig 5A) is the most laborious for the right-hand-it requires the pick to make four awkward string crosses. Figure 5B shows a much smoother, easier way to pick the same run. Notice that there are only two string crosses. Figure 5C is the easiest. The E note moves over to the 3rd string and the whole pattern begins with a downstroke, enabling you to best accent the downbeats for a strong, forcefull attack.

Figure 5A (laborious)             Fig 5B  (easier)

|----------------------------||  |-------------------------||
|---------------8------------||  |-------5--6--8--6--5-----||
|-----7--9--10-----10--9--7--||  |-5--7-----------------7--||
|-10-------------------------||  |-------------------------||
|----------------------------||  |-------------------------||
|----------------------------||  |-------------------------||


Fig 5C (Easier)

|-------------------------||
|----------6--8--6--------||
|-5--7--9-----------9--7--||
|-------------------------||
|-------------------------||
|-------------------------||

The exercises in Figures 6-10 are designed to improve you string-crossing technique. Practice them with a metronome and concentrate on keeping your right hand as relaxed as possible while increasing speed gradually. Try your own variations on these exercises and incorporate them into your warm-up routine.

Figure 6

|-------------------------------------------------||
|-------------------------------------------------||
|-7--5--------7--5--------7--5--------7--5--------||
|-------7--5--------7--5--------7--5--------7--5--||
|-------------------------------------------------||
|-------------------------------------------------||


Figure 7

|-------------------------------------------------||
|-------------------------------------------------||
|----------5--7--5-----------------5--7--5--------||
|----5--7-----------7--5-----5--7-----------7--5--||
|-7-----------------------7-----------------------||
|-------------------------------------------------||


Figure 8

|------------------------------------------------------||
|--------------10-------------------------8------------||
|--------7--8------8--7-------------7--8-----8--7------||
|-7--10------------------10--7--10-----------------10--||
|------------------------------------------------------||
|------------------------------------------------------||


Figure 9

|-------------------------------------|------------------------------------|
|-------------------------------------|-------------------------5--8--5----|
|-------------------------------------|-------5--7--5-----5--7-----------7-|
|-------------------------5--7--5-----|-5--7-----------7-------------------|
|-------5--7--5-----5--7-----------7--|------------------------------------|
|-5--8-----------8--------------------|------------------------------------|


|-------5--8--5-----------5----------|------------------------------------|
|-5--8-----------8--5--8-----8--5----|-------5----------------------------|
|----------------------------------7-|-5--7-----7--5-----------5----------|
|------------------------------------|----------------7--5--7-----7--5----|
|------------------------------------|----------------------------------7-|
|------------------------------------|------------------------------------|


-------------------||
-------------------||
-------------------||
-------5-----------||
-5--7-----7--5-----||
----------------8--||


Figure 10

|------------------------------------------------|--------------------------
|------------------------------------------------|-------------5------------
|-------------------------------------5----------|-------5--7-----7--5------
|-------------5-----------------5--7-----7--5----|-5--7-----------------7---
|-------5--7-----7--5-----5--7-----------------7-|--------------------------
|-5--8-----------------8-------------------------|--------------------------


-------------5----------|-------5--8--5----------------------------------|
-------5--8-----8--5----|-5--8-----------8--5-----------5--8--5----------|
-5--7-----------------7-|----------------------7--5--7-----------7--5----|
------------------------|----------------------------------------------7-|
------------------------|------------------------------------------------|
------------------------|------------------------------------------------|


|------------------------------------------------||
|------------------------------------------------||
|-------5--7--5----------------------------------||
|-5--7-----------7--5-----------5--7--5----------||
|----------------------7--5--7-----------7--5----||
|----------------------------------------------8-||

Most teachers and method books instruct you to practice major, melodic- minor and harmonic-minor scales and their various modes in positions. Though this fingering approach may look like it makes the most sense, it often proves to be very awkward for fast, alternate picking-especially when descending. I've found that during the descent, most seven-note scales can be picked more smoothly and easily by employing an alternate left-hand fingering.

Let's use the G major scale as an example. Figure 11 depicts its standard two-octave, fingering pattern. If you're like me, your picking hand probably gets tied up in knots when trying to quickly descend this pattern.

Figure 11
                                -------------awkward------------------
|-----------------------------3-5-|-7-5-3---------------------------------||
|-------------------------5-7-----|-------7-5-----------------------------||
|-------------------4-5-7---------|-----------7-5-4-----------------------||
|-------------4-5-7---------------|-----------------7-5-4-----------------||
|-------3-5-7---------------------|-----------------------7-5-3-----------||
|-3-5-7---------------------------|-----------------------------7-5-3-----||

Instead of attempting to overcome this stubborn obstacle through dogged repetition-I'm sure you could think of better ways to spend your practice time try the fingering pattern in Figure 12. The ascending pattern is similar to that in Figure 11. The descending pattern, however, is quite different. Note the use of finger slides and position shifts. Even though this may seem, like an odd way to finger a scale, you'll find that it enables your right hand to maintain a smooth, alternate-picking motion without having to muscle across the strings.

Figure 12

|-------------------------------5-|-7-5------------------------------------|
|-------------------------5-7-8---|-----8-7--------------------------------|
|-------------------4-5-7---------|---------9-7-5\4------------------------|
|-------------4-5-7---------------|-----------------7-5--------------------|
|-------3-5-7---------------------|---------------------9-7-5\3------------|
|-3-5-7---------------------------|-----------------------------7-5-3------|

This same alternate-fingering approach can help you pick many other types of scales more quickly. Figure 13 is a chromatic scale pattern that uses finger slides on the 1st and 6th strings to maintain a smooth picking pattern. Note that the entire fingering pattern is shifted up one fret on the descent.

Figure 13

|----------------------------|-----------------4-5-6-7/|8-7-6-5-------------
|----------------------------|---------5-6-7-8---------|--------9-8-7-6-----
|----------------------------|-5-6-7-8-----------------|----------------9-8-
|--------------------6-7-8-9-|-------------------------|--------------------
|-----------7-8-9-10---------|-------------------------|--------------------
|-8-9-10-11------------------|-------------------------|--------------------


-----|---------------------------------||
-----|---------------------------------||
-7-6-|---------------------------------||
-----|-10-9-8-7------------------------||
-----|----------11-10-9-8--------------||
-----|--------------------12-11-10-9\8-||

By using quick position leaps, an impressive, three-and-one-half-octave chromatic scale becomes easy to finger and pick (Figure 14). Pay particular attention to the left-hand fingerings provided beneath the tablature.

Figure 14

|----------------------------------|----------------------------------------
|----------------------------------|----------------------------------------
|----------------------------------|---------------------10-11-12-13-14-15--
|----------------------------------|7-8-9-10-11-12-13-14--------------------
|-----------------4-5-6-7-8-9-10-11|----------------------------------------
|-1-2-3-4-5-6-7-8------------------|----------------------------------------
1 2 3 4 1 2 3 4 1 2 3 4 1 2  3  4 1 2 3 4   1  2  3  4  1  2  3  4  1  2

------|------------------------17-18-19-20-21-20-19-18|17-16-15-14----------
------|14-15-16-17-18-19-20-21------------------------|------------18-17-16-
-16-17|-----------------------------------------------|---------------------
------|-----------------------------------------------|---------------------
------|-----------------------------------------------|---------------------
------|-----------------------------------------------|---------------------
3  4   1  2  3  4  1  2  3  4  1  2  3  4/ 4  3  2  1  4  3  2  1  4  3  2

---------------------------|----------------------------------|-------------
-15-14-13-12-11------------|----------------------------------|-------------
----------------14-13-12-11|10-9-8-7--------------------------|-------------
---------------------------|---------11-10-9-8-7-6-5-4--------|-------------
---------------------------|---------------------------8-7-6-5|4-3-2-1------
---------------------------|----------------------------------|--------5-4--
1  4  3  2  1  4  3  2  1   4 3 2 1  4  3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3

--------||
--------||
--------||
--------||
--------||
-3-2\1--||

2 1\1

Figure 15 is a two-and-one-half-octave, whole-tone scale pattern that ascends three-notes-per-string and descends, alternately, two-notes-per string and four-notes-per-string with finger slides.

Figure 15

|--------------------------------------11|13-11-----------------------------
|-----------------------------10-12-14---|------14-12-10\8------------------
|---------------------8-10-12------------|-----------------10-8-------------
|--------------7-9-11--------------------|----------------------11-9-7\5----
|-------6-8-10---------------------------|----------------------------------
|-5-7-9----------------------------------|----------------------------------


-----------||
-----------||
-----------||
-----------||
-8-6-------||
-----9-7-5-||

Figures 16 and 17 depict two easy-to-pick fingering patterns for the diminished scale (half-whole).

Figure 16

|-------------------------------3|5-3-------------------------------||
|-------------------------4-5-7--|----7-5---------------------------||
|-------------------3-5-6--------|--------8-6-5\3-------------------||
|-------------4-5-7--------------|----------------7-5---------------||
|-------4-6-7--------------------|--------------------9-7-6\4-------||
|-5-6-8--------------------------|----------------------------8-6-5-||


Figure 17

|-------------------------------------|------------11-12-14-12-11\9---------
|-------------------------------------|10-11-13/14------------------13-11---
|----------------------------8-9-11/12|-------------------------------------
|------------------7-8-10/11----------|-------------------------------------
|---------6-7-9/10--------------------|-------------------------------------
|-5-6-8/9-----------------------------|-------------------------------------


----------|---------------------------||
-10\8-----|---------------------------||
------11-9|8\6------------------------||
----------|----10-8-7\5---------------||
----------|-------------9-7-6\4-------||
----------|---------------------8-6-5-||

Figures 18-20 illustrate extended, four-note-per-string major, melodic-minor and harmonic-minor scale patterns arranged for fast alternate picking. Note that each scale pattern takes a different fretboard path coming down. Again, this is done for the sake of maintaining an easier, smoother string crossing pattern for the picking hand

Figure 18

|------------------------------------------|------------16-17-19-17-16\14---
|------------------------------------------|14-15-17/19---------------------
|-------------------------------11-13-14/16|--------------------------------
|--------------------9-11-12/14------------|--------------------------------
|----------7-9-11/12-----------------------|--------------------------------
|-5-7-9/10---------------------------------|--------------------------------


------------------|------------------------------||
-17-15-14\12------|------------------------------||
-------------14-13|11\9--------------------------||
------------------|-----12-11-9\7----------------||
------------------|---------------11-9-7\5-------||
------------------|------------------------9-7-5-||

Figure 19

|------------------------------------------|------------16-17-19-17-16\14---
|------------------------------------------|13-15-17/19---------------------
|-------------------------------11-13-14/16|--------------------------------
|--------------------9-10-12/14------------|--------------------------------
|----------7-9-11/12-----------------------|--------------------------------
|-5-7-8/10---------------------------------|--------------------------------


------------------|-------------------------------||
-17-15-13\12------|-------------------------------||
-------------14-13|11\9---------------------------||
------------------|-----12-10-9\7-----------------||
------------------|---------------11-9-7\5--------||
------------------|------------------------8-7-5--||


Figure 20

|------------------------------------------|------------16-17-19-17-16\13---
|------------------------------------------|13-15-17/18---------------------
|-------------------------------10-13-14/16|--------------------------------
|--------------------9-10-12/14------------|--------------------------------
|----------7-8-11/12-----------------------|--------------------------------
|-5-7-8/10---------------------------------|--------------------------------


------------------|-------------------------------||
-17-15-13\12------|-------------------------------||
-------------14-13|10\9---------------------------||
------------------|-----12-10-9\7-----------------||
------------------|---------------11-8-7\5--------||
------------------|------------------------8-7-5--||

The easiest way to quickly pick an ascending-descending arpeggio without sweeping is to finger only two notes per string, and use quick position shifts to transport your hand up and down the fretboard (lateral motion). This creates an optimum string-crossing pattern for the right hand, enabling you to soar through several octaves while conserving precious picking energy.

Figure 21 is a monstrous, two note-per-string F major arpeggio that transports your left hand from the 1st to the 20th fret and back. Beginning with an upstroke, proceed slowly at first and concentrate on shifting your left hand smoothly while maintaining a strict alternate picking motion.

Figure 21

|--------------------------17-20-17---------|-----------------||
|--------------------13-18----------18-13---|-----------------||
|--------------10-14----------------------14|10---------------||
|---------7-10------------------------------|---10-7----------||
|-----3-8-----------------------------------|--------8-3------||
|-1-5---------------------------------------|------------5-1--||

Figure 22 is an exercise designed to teach your left hand the fretboard pattern while increasing your right-hand picking fluency. Once you memorize the pattern, you sould be able to increase your left/right hand coordination and picking speed with practice.

Figure 22

|-------------------------|------------------------------------|------17-20-
|-------------------------|------------------------13-18-13----|13-18-------
|-------------------------|------10-14-10----10-14----------14-|------------
|----------------7-10-7---|-7-10----------10-------------------|------------
|----3-8-3---3-8--------8-|------------------------------------|------------
|1-5-------5--------------|------------------------------------|------------


-17----------17----------|----------------------------------|--------------||
----18-13-18----18-13----|-------13-------------------------|--------------||
----------------------14-|-10-14----14-10---------10--------|--------------||
-------------------------|----------------10-7-10----10-7---|-----7--------||
-------------------------|--------------------------------8-|-3-8---8-3----||
-------------------------|----------------------------------|-----------5-1||

Four-note arpeggios-minor seven, dominant-seven, diminished-seven, etc. -are easier to finger two-notes per string than three-note arpeggios, and require fewer finger stretches and position shifts. Figure 23 is a cool- sounding, three octave Amaj7b5 arpeggio that's easy to both pick and finger. Try playing other four note arpeggios and their inversions using two-note-per string fingering patterns.

Figure 23

|---------------------9-11-9-------|---------------||
|----------------9-10--------10-9--|---------------||
|------------6-8------------------8|6--------------||
|--------6-7-----------------------|--7-6----------||
|----4-6---------------------------|------6-4------||
|-4-5------------------------------|----------5-4--||

Most solos are comprised of short licks strung together, as opposed to long, straight-out-of-the-textbook scales and arpeggios. The exercises in Figures 24-26 are based on short, easy-to-pick patterns shifted up and down the neck. Use these exercises as picking warm-ups and as inspiriation for your own speed licks.

Figure 24

|---------------------------------|---------------------------------|----3-6
|---------------------------------|---------------------3-6-----6-8-|3-6----
|---------------------------------|-----3-5-----5-7-3-7-----5-7-----|-------
|---------------------3-5-----5-8-|-3-5-----5-8---------------------|-------
|-----3-5-----5-8-3-5-----5-8-----|---------------------------------|-------
|-3-6-----6-8---------------------|---------------------------------|-------

                                                      2
----6-8------8-10-------10-13-|-------13-15-------15-18-18b--rb13~--||
6-8-----8-11------11-13-------|-13-15-------15-18-------------------||
------------------------------|-------------------------------------||
------------------------------|-------------------------------------||
------------------------------|-------------------------------------||
------------------------------|-------------------------------------||


Figure 25

|-----------------------------------|---------------------------------------
|-5-4-----8-5-----9-8-----12-9------|-13-12-------16-13-------17-16---------
|-----5-4-----8-5-----9-8------12-9-|-------13-12-------16-13-------17-16---
|-----------------------------------|---------------------------------------
|-----------------------------------|---------------------------------------
|-----------------------------------|---------------------------------------


-------------|-----------------------------------------------|--------------
-20-17-------|-17-16-------16-13-------13-12-------12-9------|-9-8-----8-5--
-------20-17-|-------17-16-------16-13-------13-12------12-9-|-----9-8------
-------------|-----------------------------------------------|--------------
-------------|-----------------------------------------------|--------------
-------------|-----------------------------------------------|--------------


---------------------||
-----5-4-----4-1-----||
-8-5-----5-4-----4-1-||
---------------------||
---------------------||
---------------------||


Figure 26

|-----------------------------------------------|---------------------------
|------9-12-------12-15-------15-18-------12-15-|-------15-18-------18-21---
|-9-10------12-13-------15-16-------12-13-------|-15-16-------18-19---------
|-----------------------------------------------|---------------------------
|-----------------------------------------------|---------------------------
|-----------------------------------------------|---------------------------


-------------------------||
-------15-18-------12-15-||
-15-16-------12-13-------||
-------------------------||
-------------------------||
-------------------------||

Sometimes a certain fingering pattern works well for an ascending lick, but proves awkward when you try to pick the lick backwards (descending), or vice versa. The trick is to find a fingering pattern that enables your right hand to flutter back and forth with a minimum of effort. The ascending and descending triplet licks in Figures 27 and 28 are a perfect example of this concept. The easiest way to pick the ascending lick (fig 27). is to alternate between playing three consecutive notes on the 2nd string and three notes on the 1st string. The descending lick (fig 28), however, is more easily picked by alternating between two notes on the 1st string and four notes on the 2nd string. Note the use of finger slides on the 2nd string.

Figure 27

|-------1-3-5-------3-5-7|------5-7-8--------7-8-10|--------8-10-12---------
|-1-3-5-------3-5-6------|5-6-8-------6-8-10-------|8-10-12---------10-12-13
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------


-10-12-13|---------12-13-15-----||
---------|12-13-15----------13~-||
---------|----------------------||
---------|----------------------||
---------|----------------------||
---------|----------------------||


Figure 28

|-15-13-------------13-12-------------|12-10------------10-8-----------|8-7-
|-------17-15-13\12-------15-13-12\10-|------13-12-10\8------12-10-8\6-|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----


----------7-5---------|5-3---------3-1------------||
-10-8-6\5-----8-6-5\3-|----6-5-3\1-----5-3-1-0-1~-||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||

More about → Some of Alternate Picking Technique

Unusual Guitar Bending Technique

Unusual Guitar Bending Technique

the assignment is on some altered aural means to angle notes. Some of these examples will crave a anathema bar that can be pulled up; If you accept one that commonly alone works one way, email me and I'll acquaint you how to mod it so it aeroembolism up, if you want.

Ok, this aboriginal archetype is analytic able-bodied known. You angle a agenda up, and again again ability over with your appropriate duke and advance bottomward on the cord abaft the nut. This won't assignment with locking nut systems area the nut is locked, but on those you can about angle up with the anathema bar anyway. You can use this to accomplish actual advanced aeroembolism or add abundant vibrato to angled notes. It's additionally accessible for angle accessible strings or harmonics.

bn = bend behind nut
~n~ = vibrato behind nut
Ex1:

e|---------------------------------------------------|
B|---------------------------------------------------|
G|--2b(4)bn(5)rbn(4)rb(2)------2b(4)~n~rb(2)---------|
D|---------------------------------------------------|
A|---------------------------------------------------|
E|---------------------------------------------------|

This next one uses an adaptation of the classical vibrato technique - the one where you push the string towards the bridge and pull it back towards the nut in quick little horizontal movements. In this case, you exaggerate the "pushing forward" movement to push the string towards the bridge and actually bend the pitch down. This is very tough unless you have a low action and light strings.

Ex2:
e|---------------------------------------------------|
B|--9b(8)--------------------------------------------|
G|---------------------------------------------------|
D|---------------------------------------------------|
A|---------------------------------------------------|
E|---------------------------------------------------|

Note that it's very tough to use this to bend down by even as little as a semitone, you're more likely to get about a quarter tone.

This one is also known well, amongst whammy bar users. Here, you hit the whammy bar lightly (or heavily) as you fret each note, rather than picking the notes. This causes an effect known as 'scooping', because you scoop the pitch of the note from below its original pitch back up to the original pitch. You can also turn the bar around and 'reverse scoop'.

V = scoop

Ex3:
e|---------------------------------------------------|
B|---------------------------------------------------|
G|---------------------------------------------------|
D|--2-/-3-/-5-/-7-/-9-/-10-/-12~~--------------------|
A|--V---V---V---V---V----V----V----------------------|
E|---------------------------------------------------|

A cool variation on this is to slide up the fretboard while applying heavy whammy vibrato in either direction. Steve Vai uses this one a bit.

VVVVVVVVVV = whammy bar vibrato

Ex4:
e|---------------------------------------------------|
B|---------------------------------------------------|
G|---------------------------------------------------|
D|-VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV---|
A|-1////////////////////////////////////////15-------|
E|--(this is a gradual slide)------------------------|

While we're on the whammy bar theme, this one is cool, but requires practise to get right, and it also requires a whammy bar that bends up. What you do is grab the whammy bar in your right hand's last two fingers, pick the 7th fret on the G string, pull the whammy bar up one tone, then push it back to it's normal pitch, and quickly hammer on the 9th fret. This effect sounds great when done really fast! Of course, it can be done on any string and all over the fretboard, and using any interval that can be bent with the whammy bar.

wb = bend with whammy bar
Ex5:
e|---------------------------------------------------|
B|---------------------------------------------------|
G|--7wb(9)rwb(7)h9--7wb(9)rwb(7)h9-------------------|
D|---------------------------------------------------|
A|---------------------------------------------------|
E|---------------------------------------------------|

Ever heard some of those Jimi Hendrix solos that were taped backwards? You can approximate a 'true' 'reverse bend' effect using your fingers and your guitar's volume control, or a volume pedal. Or, if you're really lucky, you can use the Snarling Dogs Erogenous Moan Tape Reverse pedal. Ok, what you do is, set up your guitar and amp for a long sustaining distorted lead tone and turn the volume on your guitar (or pedal) to 0. Pre-bend a note, pick it, and as soon as you do, start simultaneously releasing the bend and turning the volume back up to 10. Sounds great when you get it right!

<<<<<<<<< = fade volume in.
pb = prebend
Ex6:
e|-<<<<<<<<<<<<<<<<<<<<<<<<<<------------------------|
B|-7pb(9) grad release--rb(7)------------------------|
G|---------------------------------------------------|
D|---------------------------------------------------|
A|---------------------------------------------------|
E|---------------------------------------------------|

Have you ever accidentally bent a string off the fretboard? I have, but I've also done it deliberately, cause it sounds good! Steve Vai is a master of this. Check out the 'sitar' bends in the outro to "The Boy From Seattle". You can do this on any string, provided you use a low enough gauge, but most people will only get the high E, B, low E and A. Simply bend the string so far it goes off the fretboard, for some very wide interval bends! This works differently in different areas of the fretboard, so experiment!

Ex7:
e|-----12b(20)---------------------------------------|
B|-------(bend string downwards and off fretboard)---|
G|---------------------------------------------------|
D|---------------------------------------------------|
A|---------------------------------------------------|
E|---------------------------------------------------|

This next technique is one of my favourites. Bend a note up normally, then tap a higher fret with your right hand, pull off, release the bend, and pull off to a lower note. Or, hold the bend with your left hand, tap the note and bend it up as well while holding the first bend, and finish the same way. It tends to look more confusing than it is.

Ex8:
e|---------T--------------------------------------------------|
B|--15b(17)19p(17)rb(15)p12-----------------------------------|
G|---------------------------------T--------------------------|
D|-------------------------12b(14)22b(23)rb(22)p(14)rb(12)p10-|
A|------------------------------------------------------------|
E|------------------------------------------------------------|

This one is known as the "Joe Satriani lizard-down-the-throat effect". You slowly slide a note up the fretboard, which ordinarily would mean that the pitch of the note would rise, but at the same time, you push the whammy bar down so that the pitch never changes throughout the slide. This is a great sounding effect which can be heard in Joe's song Ice 9.

Ex9:
e|---------------------------------------------------|
B|---------------------------------------------------|
G|---------------------------------------------------|
D|----(gradually push bar down so pitch stays same)--|
A|--5///////////////////////////////////////////12---|
E|--(grad slide)-------------------------------------|

Source : www.ultimate-guitar.com

More about → Unusual Guitar Bending Technique