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    Sweep Picking (Part Four) - Martin Goulding

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    VinceMoon
    Guitar Techniques

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    Sweep Picking (Part Four) - Martin Goulding

    Uploaded by

    VinceMoon
    183 views6 pages
    Guitar Techniques

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    Sweep Picking [Part Four] - Martin Goulding

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    Guitar Techniques

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    Download as pdf
    183 views6 pages

    Sweep Picking (Part Four) - Martin Goulding

    Uploaded by

    VinceMoon
    Guitar Techniques

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    © All Rights Reserved
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    of 6
    AACE Economy Picking Okay, you’orrible lot: pay attention as Sergeant Martin Goulding concludes his sweep picking B® series with a lookat libersweeper Frank Gambale. PE e TO @@@e@ Moderate/Advanced INFO WILL IMPROVE YOUR KEY:Various | Tapping ils TEMPO:Various _| sArpeqgio awareness (CD: TRACKS 36-49 | Speed ane tueny ‘THE FOURTH AND final part in this series on the sweeping technique applies tothree-notes-per-string ‘modal playing. This is ‘commonly known as ‘economy picking and wi developed from the rmid-'70s on by jazz-rock ‘virtuoso Frank Gambale, who gained recognition for his ineredible technique in theearly ‘Sos while studying at GIT. He went ‘onto release the now famous book Speed Picking (1985). Before Gambale, sweeping through strings was done here and there by jaaz and rock players and tended to be lick specific, whereas Gambale presented a fully developed and complete technical system for executing scales and arpeggios with, maximum efficiency. Since that time the technique has become widely used, both asa default technical approach and as an addition to the legato and strict alternate picking techniques used by modern rock and metal players like Malmsteen, Marty Friedman, Zakk Wylde, Michael Lee Firkins, Jeff Loomis and Michael Romeo, This month we will ook athow this technique ean be applied to three-notes-per-string modal scale shapes, ‘and as usual we will explore the conceptin ‘our technical home’ key of G, the notes relating tothe root note of , and described as A Dorian (R2b3 4 5607), the ITin ‘The main idea behind economy picking, is thatthe pick moves through the strings he sweeping oe on THe eo @ TRacKs 36-49 with the same sweeping motion that we have so far applied to arpeggios. ‘Study the picking notation on all ‘examples carefully, and you will see that on ‘odd note groupings like 3, 5 and 7, the pick moves to the next string following the path ofleast resistance with a single sweep ‘motion, as opposed to the alternate picking style which would hook around the string otherwise known as ‘outside the string’ picking. Ifthe number of notes per string is. even, while travelling in a single direction, ‘you will note that the pick moves inside’ the ‘strings. So ifyou were to use the technique asa default system, you would encounter both sweep strokes and inside pickingas you navigate through scalar sequences. It isalso worth pointing out that a single sweep stroke may set up the remainder of the pattern to be played completely inside the string, so the technique is more involved than the sweeping clement itself and will also demand that the pick is equally ‘comfortable leading with an upstroke and playing inside the string, which is well known to be the main area of difficulty with, the strict alternate picking technique. Thereis also a different set-up and feel to utilising the economy technique as opposed to playing strict alternate style. When we studied alternate picking we set up the palm near the bridge to gently palm mute and used the wrist to swing the pick back and 6 The main question, and one that is often asked by students, is whether economy picking is faster, as well as more efficient 99 7 ce pee ee eer ean oa ane appropiatetone eerie reper erent ae ener eaters aren) fee or Porat cre ees nclean execution through effect er ee aero ‘TRACK RECORD Although Frank Gambaleisn'texaetly an out and out metal player his sweeping technique is as advanced as it gts. lof his albums feature his distinctive style but we particularly recommend: Brave New Guitar (196), Live (1968) and Thinking Out Loud (1905). Also worth a liston is Mark Varney Project's Truth In Shradding, featuring Frank Gambale versus the legendary fuser Allan Holdsworth 662 Guitar Tectuiques 4 ECONOMY PICKING W831) 097473 forth tocreate the momentum; but with economy, we will rest on the heel area ‘which may involve the thumbpad resting ‘lat and tilted slightly upwards to avoid any palm muting. The picking action will bring into play slight forearm movement, with much of this coming from a combination of side to ” side wrist motion (as opposed tothe wrist rotation used inthe strict alternate picking style) and slight finger and thumb interplay as the sweeps are applied when moving across the strings. On ascending lines, the pick will tilt downwards slightly and make contact on the front edge, whereas when « descending the pick will it back and play ‘lat (parallel) tothe string. The pick should bbe held fairly loosely and allowed to move sympathetic tothe direction in whieh you are travelling. ‘The main question, and one thatis frequently asked by students, is whether “ ‘the economy picking technique is faster, as well as being more efficient; and whether it isasuperior or more advantageous technique than strict alternate picking. ‘My answer is always that they ae simply diferent techniques; each has its own advantages and will yield a different 6 ‘expertise at more advanced levels, For ‘exaimple certain things that might be tricky and difficult fr strict alternate picking, tay be relatively straightforward for the economy picking technique and vice versa. Somyadviceisthatitisbest toview both techniques as different tools for 6 different jobs and develop bath disciplines together. The alternate picking technique ‘an havea machine gun like attack and allows for an aggressive tone which makes itideal for rock/metal rifing and fast ‘muted scalar runs -think Zakk Wylde~ Whilst the economy technique hasa ® characteristically smooth and open sound being generally un-muted, and is favoured by jazz rock players who play more across ‘the strings vertically, as they base more of their vocabulary around arpeggios. Happy sweeping! © POSITIONS POSITION2 POSITION 4 POSITIONS POSITIONS Position 7 Here we have three intial fragments that demonstrate the economy picking ‘technique witha neat turnarounc kde sa we can maximise efcency fly utilising the sweeping technique to ascend and descend, As the pick moves fom the sixth string down tothe fth string for example, you will se that the last downstroke on th sixth string cavies on downwards as a sweep stroke tothe first note on theft string. These wo nates are executed Ina ingle sweeping motion over the two stings and ifwesloned down {enough we would see that the pick actually momentarily rests onthe next string down before pushing through to activate the nate, The key to good time keeping with thistechniaue ito realse thatthe pick applies pressure ‘onthe next string slighty before the nate ssaunded by the push through ‘motion. This whole movement, uses a combination of sde-toside wrist as the picking hand rests fat onits hee re, the thumbpad light resting on the surface ofthe upper body of the guitar somewhere between the bridge and neck pickups, and slight flexibility ofthe thumb and forefinger. Because EXUDES o ry «a 2 Ts * 0 0 ® rd 8 2) @ a ® o “6 0) o ir “6 ofthis fir amount of attention should be given tothe way youhhold your Pick. As the sweep stroke splayed, n order to minimise elbow and shoulder ‘tensions, the thumb will straighten frm a sight previous curve, helping the pressute increase and subsequent follow-through of the pick ecross the ‘wostrings. To test the presence ofthe rest stroke, would advise you play the fist three notes, and check whether you instinctively land immediatly ‘on the ith string the energy ine ofthe pick would drop immediately

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