IN OUR FOURTH AND FINAL WITHA LOO ofl sbcatrng shapes speed interal= nd mode ia the key sve seen that alternate picking Aenuly when erassing from ane string to another wony oftwa techniques, omesde that efficen,well-rledtechrique ix armur for speed and faci achieving alternate pick Working with sextupl aecustomeil to secerting the frst note of with a dawnstroke, nngauny thy sion that contains an even number of notes per eighth nates, 6th harder and secer inelp maintain oe wos getting used w fand by st king the string ecusate synicluonlzation becween the Tencouurage you to prctice ench example ESA EE EE a Ee ONES CHAPTER ON ALTERNATE PICKING, WE WRAP THINGS UP K AT FIVE- AND SEVEN-NOTE GROUPINGS. RED first 10 minutes pattern in your ends and ears; then, start off very ro without a metconome forth or 10 esta bpm. The septupless, being aap, with 120 bpm as is pointless tn increase speed before you can subdivi at (stich 1e downstroke on the beat, wee help GET THE TONE ae er ny ees CP eee ee ces Pein err eee nee er eaters meer te on erent eee ea ‘come from the technigue itself and choice of pickup, so experiment with different pickup configurat spot.” Usually, the palm mute area (where the strings ‘emerge from the bridge) isa good placetto start.FIGURE 1 FOUNDATION EXERCISE OUR FinsT EXAMPLE isa single-string repetition fragment that has you sh ‘ng positions from ft to seventh to cihth and back. This exercise willbe the first step in getting you comfortable ‘with che coneepeof aecenting the beat, first on a downsteoke and then, oa beat ‘ovo, onan upscroke. Allsubsesiaent fexampleshoild from this iniial patra, so ake care to aeeant the beat, and try to internalize the fel ofthe quintuple Listen earefally to the audio demon- strasion, and do not inerease spsed ‘until the motion ofthe pick and the feel of the exercise starts wo solidify, Use the tip ot the pick witha fairly wide swing of around two centimeters either side of the sting to ensure a good, even tone, contracting the meiverent a8 you increase the tempo, FIGURE 2 INSIDE PICKING HERE WE HAVE a static repetition frag men that incorporates two stings and inside picking on exch cross. The control and synch-onization will come froma firm acvenced noteon each downbeat. Try to concenrrateon the downstroke accents on beats one and thave, Use the time spent between Pre FIGURE 3 OUTSIDE PIeKING. ASTHE COUNTERPART to the previ fs example, here's similar pattern that exclusively uses outside picking, ns reeperate and re for the next cross. otherwise known as“thooking around.” = Swing the pick widely at First a the Slowver tempos and aim forthe very tip of the pick loran even velocity, apart fromthe accented downbeats, which should be played slightly louder than the other notes, es thiswill aid im syn- chrouizing the tw hands. FIGURE 4 ‘TWO-STRING REPETITION FRAGMENT THISEXEREISE corporates [WO ets of quintuplets per string shiking through three symmetrical postions of ‘Dorian starting in fifth positon. As ou move fram beat fou of ar to the downbeat of har 2 try to shift your free Ihand position by reaching and expand: ing your Finger spread rother than by an shrupt shift alone. Again, accent each heat withthe pick using a downstroke “onheats one and three ofeach bar and an upstroke on beats evo an four. FIGURE 5 ‘THREE-STRING QUINTUPLET RUN [MERE WEHAVE a series of quintuplets played across the top three strings, on which the frec hand alternacelyIeads ‘off with the fourth and first fingers. Por the pick hand this partern offers an {excellent way’ to practice shifting rom E FIGURES threes FIGURE 1 foundation exersise oars FIGURE 2 inside picking -=0"30 on avis = 001s apa quiatuplet run are oe n¥n¥ n¥nVaV¥n¥nvn GUITAR WORLD OL rt ob tt tt Ot OO OE OO OOOO OOOOt + + + > + + > HH + HH HH HH HH HHH HH HH HHH HHH inside to outside picking, The fest stringrewoss, from the high Eo the B, requires the inside technique, and the move from the B co the G string utilizes outside picking, Try doing the same kind of pattern on diferent sets of strings, and remember to keep Focused cn aecenting the dawnstrokes and upserokes that fall on the heats FIGURE & ‘S1X-STRING RUN ity of tone by swinging the ‘over each string. with contact righton its ip. Accent te first note on each string. noting the dovwnscrokes on ‘beats one and three and upstrokes on oat Ske and four Be sure te apply atwide pulldown’ vibrato to the finishing note. Use the wrist, pvoring from the sharply angled index-finger and-thumb clamp, an pull the string downward using wrist rotation, the fingers themselves rerainie ri FIGURE 7 [ASCENDING VERSION OF PREVIOUS RUN APPLYING THEEPATTERN fron: the pre ious example inthe opposite drec- tion~stertng onthe lw Estring—chis zn finisher with ahall-stop bend on the high E whieh is then adorned with sthvate Think of the bean as being plied once the bend hae relaxed bck to its starting pitch, rather than from the apex ofthe bend asthe irate shod no go shore that pitch Three pulses is the standard for rock sibrato and makes foran authentic and Grama FIGURE 8 POSITION SHIFTING ACROSS STRINGS ‘THIS HORIZONTALSTACKING of x0 shapes per string opens up the poten= tal for serious speed, asthe mind and right hand ean faeus on uninterrupted picking without crossing strings For Touger durations. This approsch also helps us mave through positions and ‘extend the range of our runs. Once yous memorize this, cy to design your on, runs, maving in different distances scrote the neck. As you spend more time creating suas and wanseribing those ofthe great avers, youl see improvements in your ability to visual ize the scale and navigate the neck, AIGURE 9 ‘STRING SKIPPING HERE'SA STRING-SKIFPING example in the stye of Job Petrucci. You may want to break it dorm into aub-oxer cises at fist and master each subse quent hese and string cress separately Before tying the whole thing together. Use the wrist when picking over two strings, and notice that, inorder to maintain the samo pisl angle relative ‘tp cach string, you will use the sti as ahoom fo maneuver the wrist aver the ‘exit to thoce ideas, 102 curtaRwouty FIGURE 7 asconding version of previous un 60139 — FIGURE. position shitting across strings seas aVn¥naYnVaVaYn¥a¥n¥n¥ n¥nva¥nva¥n (ee LE | ——— Foe To B skipping 2=00/18) bs cece nVnVnV aYnYaYaYaYaavaVny FIGURE 10 sepruptets on one string = FIGURE 11 cepruptets on wo strings 0120 py ttestere. eee oats sateen ee eu e Cena ‘ n¥nt?o¥n¥nVaVaVanvavavoavatanstrings being picked, ‘This will come from the elbow, but isis in no way associated with any tension, FIGURE 18 SEPTUPLETS ON ONE STRING THIS NEXT EXAMPLE intrdtices sept plots As with all she quintuplot examples, bears one ane throe are always picked witha downstroke accent, and beats wo cand four ere always aecanted with an ‘upstroke. The septupletis full roll and leads frm the fetchand pinkle on every ben. Ae you play through the example slowly, tt lock in the foot tapping the owabeats and pick accen FIGURE 11 ‘SEPTUPLETS ON TWO STRINGS, FOR THIS EXAMPLE, pick lightly and evenly, swinging the pik across the string with pleniy of wrist momentum, Use the very tip ofthe pick witha slight downward angle to get an eve. velocity 2s you play through. Keep your fooctappingon the beat, and concen trate on the slternating downstsoke and upstroke accents. FIGURE 12 DESCENDING SEPTUPLET RUN HERE WE HAVE a descending septupl rumacrossall six strings, finishing with. wide “pull-down” rock vibrato on the low Eat the 12th fret Try to ensure thar, on Che frosting hard, you are aware ofthe index finger mating the string abore the ene you are currently playing by stubbing the flesh of the tip ofthe finger into the sting above The indos finger should also lightly lay: across any strings underneath tve one boeing picked in order to mute thems and supprese unvranted string noise. FIGURE ‘ASCENDING VERSION OF PREVIOUS RUN "THIS 1S THE UFWARD counterpart (0 ‘ur previous exemple. The finishing nota is struck with a downstroke and adorned with a wide vibrato, Pick the run as evenly as possible, accenting the owmnbeats with the pick and reinforc- ing the feel by topping the foot FIGURE 14 {1GTH NOTES IN GROUPS OF SEVEN SEVEN-NOTE GROUPINGS don't neces- sarily have tobe played as septuplets An interesting rhythmic melodic eiloct o— FIGURE 12. descending sepruplet ran J-s0n20 nVnVn¥n¥n¥n FIGURE 14 16¢h notes = 80/166 nvavnvn pa | FIGURE 15 more soven-note grompings rVn¥n¥avn ———— — can be achieved by phrasing eth notes, ingroups of seven, as demonstraced in gipeeetcerere tHE HHH HEHEHE HEA HEHEHE HH HEH HH +H + HH HF thisexample. Youcan hear thiekind af: | idea often in Join Petruce’splaving les ‘great device to enpley forthe sake of fenerating interestingly unusual melod- ie contours and syncopations within an ‘unbroken stream af léth aotes. MORE SEVEN-NOTE GROUPINGS stop further and implies odd note sroupings of five and seven within a 104 GurTaRwonLD nVaVnvnYavn steady stream of 1th notes, Applying 5 this approach will help you develop a UIEFINALEKAMPLEtaKes this concept | fresh vocabulary of 16th-note molodic phrases inspired by parterns that you E initially learned with wiplets, uiatu- | plets or septuplets, so experiment! You ‘ean tart by king tay of the previous ‘examples ia tis lesson and changing the rhythm te cighth-note triplets, 1h notes or Isth-note ciples, #