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30 - S2E2 Volcano Pack - Performance Notes
30 - S2E2 Volcano Pack - Performance Notes
30 - S2E2 Volcano Pack - Performance Notes
Its not that the pull-off buys more time for the right hand. Instead, the
critical advantage of Yngwies integration of legato and picking is that
it positions the pick in the ideal location for switching strings. From a
vantage point *above* the plane of the strings, the pick can drop down
on any of the other five strings, just as it would have if that string had
naturally contained an even number of picked notes.
Sweep Escape
All of which sets the stage for the arrival of sweeping. By extending a
single pickstroke through more than one string, the problem of rising
above the plane of the strings is circumvented entirely. The pick no
longer leaps or stringhops the next string: it simply pushes on through.
The power of this is formidable. Pickstrokes no longer need be
converted into upstrokes by way of legato. Instead, they simply
continue on their trajectory, encountering the next string in their
direction of travel. And for Yngwie, there is only ever one direction of
travel: down.
Because of Yngwies reliance on downward pickslanting, sweep
pickstrokes in his mechanical system are only possible in a physically
downward direction. When the pick is held with a downward slant, it
will flop over each higher string like a baseball card in the spokes of a
bike. The greater the degree of pickslanting that is used, the less
resistance this flopping motion produces. Conversely, attempting to
sweep in the ascending direction with a pronounced downward
pickslant is essentially impossible. The tip of the pick digs underneath
the strings and refuses to slide.
This means that sweeping in the Yngwie system is only possible while
playing melodically *ascending* lines. Despite this seeming restriction,
this capability is actually incredibly liberating. The ability to execute
clean, fully-picked string changes after both odd and even numbered
Arpeggios
The Two-String Shapes:
2str dim asc.mov
2str dim droplets + fours.mov
2str minor asc.mov
dim fives desc.mov
Yngwies solution for two-string arpeggio playing is as mechanically
powerful an example of the integration of sweeping and legato playing
as exists in his vocabulary. Because these are triad shapes, executing
them with pure alternate picking would mean flipping the picking
structure with each repetition: downstroke, then upstroke, then
downstroke, until all your fingers (and ships) are burned. To be clear,
were not just talking about individual notes. Were talking about whole
*patterns*. This is a very unsual feeling, and it takes a solid working
command of two-way pickslanting to do this with pure alternate
picking.
But not for Yngwie. Because the ascending side of each repetition is a
sweep, one alternate pickstroke is eliminated. This allows each
repetition to start on the exact same pickstroke: a downstroke.
The Three-String Shapes:
3str desc fours.mov
3str dim positions.mov
3str minor positions.mov
Yngwies three-string sweep arpeggio shape is not only a foundation
of almost all of modern sweep arpeggio playing. Its a misnomer: the
shape is 50% alternate picking. This fact alone differentiates Yngwies
approach from many modern, fully-swept approaches in a number of
key dimensions. For one, it is entirely reliant on downward
pickslanting, allowing the individual pickstrokes in the pattern both
of which are upstrokes to exit the plane of the strings gracefully.
In Masters in Mechanics, we examine this patterns ingenious
construction in great detail, deriving the rationale for each and every
pickstroke it contains. For the purposes of this collection, follow the
picking instructions in detail and reference the slow motion clips to see
what this design looks like in actual practice.
Note that the descending fours example actually breaks the rules.
The connection between each repetition of this pattern is actually a
downstroke. Despite the orderly world of Yngwies picking design
there are actually a few cases like this one, where Yngwie chooses to
switch strings after a downstroke. This only ever occurs in the
is simply no way to get from the third string to the fourth string using
Yngwies system. This sequence of three successive string changes is
simply only playable with something Yngwie doesnt do: upward
sweeping.
As a result, Yngwie usually attempts this with alternate picking, and
usually fails. Its visible clearly on the REH tape, and in most of
Yngwies live performances. In the famous occurrence of this lick at
the end of Far Beyond the Sun, the missing/flubbed notes are simply
disguised by the bands instrumentation.
The Hybrids:
3oct min asc.mov
trilogy arps.mov
The included three-octave minor lick isnt actually an Yngwie lick, but
its a practical extension of the Yngwie picking strategy that displays
the full power of the system at work. One of the most straightforward
ways to conceptualize arpeggio playing on the guitar is by simply
repeating the same shape in three octaves. But doing this with
alternate picking is a stringhopping disaster. By incorporating
sweeping into this design, not only is the 1nps component neatly
blended with the remaining two notes of the pattern, but each pattern
connects seamlessly to the next by way of upstroke string changes.
This section of Yngwies song Trilogy Suite, from his third album of
the same name, is a tour de force of arpeggio playing that again
highlights the full power of the system at work: two-string shapes,
three-string shapes, legato escape hatches, and scale playing. Its a
challenge to do this with fluidity, but its nothing compared to the
contortions this would require with pure alternate picking. That this
passage has been incorrectly transcribed so many times in lesson
books of the past (most often as 1nps, 3-string sweeping) is a
testament to its incredible ingenuity.
Scales
Scalar Sweeping:
3nps sweep.mov
Yngwies approach to three-note-per string scale playing is as
powerful today as when it first came slashing out of your stereao
speakers in 1983. Simply put, ascending three-note-per-string
sweeping is hands-down the easiest way for beginning players to get
the aggressive sound of fast, accurate scale playing with a minumum
of effort. Rather than the athletic challenges of leaping from string to
string using pure alternate picking, the challenge of the sweep
approach is fluidity. It will take some practice to make this happen with
evenness, but the upside is that its dramatically less likely that youll
hit wrong notes in the process.
The Volcano Licks:
volcano lick.mov
volcano lick - alt.mov
volcano pattern.mov
volcano pattern - in context.mov
The Volcano lick is the terrifying example of sweep and alternate scale
playing from which the episode derives its name. And for good reason.
Perhaps more than any other single example we examine in the show,
this lick contains an incredible wealth of examples of the power and
speed afforded by the Yngwie picking system: multi-string patterns,
position shifting patterns, strict 3nps multi-string patterns, and even
2nps patterns its all here. All told, we spend more than a half hour
on this one lick in Masters in Mechanics, separating its many parts
and deciphering their mysteries.
The Volcano pattern itself is the core of the lick: a unique pattern of six
notes that involves three string changes and even some one- noteper-string playing. This pattern would be a challange for even strong
pure alternate players, but the application of the Yngwie ruleset