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~-||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||
