lla and welcome co my video on my gasiar
Lechnique called "sweep! or "speed picking
This video is exciting because it enables the
viewer to sce and hear how effortless this
Technique cam be. Most guitarits are anstious
iprove their picking technique. Pieking problems
we one of the reasons that the twe-haid lechnique
became 69 populae
Wheo everyune was doing the two-hand thing | held
tight to my pick, dewemineal to make @ work. I decided
fe rethink’ and rearcnge some of the aut of date shapes
(of traditional seaiss and arpexuios to shee some light o0
new possibilities For the pick, “The techrique boils down
to a concept of odd and even numbers of nates per
seeing Whenever you play’ the lick finan law to high ar
hugh to Jow, playing only in one dlzcctiom, you need an
jodi number of notes per sirlag, When you want to
change direction, you need an even number of notes per
sting
INTRODUCTION| need an
| want to
nee pet
the enly ane Luse far every sale inevery pen
tion. Campare that to what you may be play:
ing today. It's senseless to me, to have your
sighe hand play something. different for every scale in.
every sition because of the inconsistencies of the trade
‘tonal scale patterns. Of course, shere isa light rade off
sample 1 denonstrates a simple major seale
I : This shape, in terms of the picking patrn, is
Example 1
GMajoc «12446671
and slight bending of the niles, On the high E sing
‘hore are only tro neaes, which means we skip one and
we have four nates on the botiom. This means adding a
chromatic passing tooe ora diatonic nate hy skipping the
toot as in Fxample la which is exactly the sime as
Bxairaple 1 except for the last4 noses. Eeamples 1b, 1
and Id are examples of different scale types using exactly
the sare picking pattern seen“author's Note:
I don't like t0 stifle guitarists aprons ine putting. Bryerings on
scales. People always differ an fingering choices,
Example tb
Corian Mode siabaasebey
(g- 1 i gm F
=
- =_—
ny
nvm
— pesterExample le
Gyan Wscale «1 asta seb»
saa re
a
Example 1d
Bb Dindeished scale (1849-448 be Mr ar
‘This concept isa relief to me, Naw I can safely avoid all of the picking peablems assocaied with having inconsistent
numbers of nates on strings for every sale.Pentatonies - No crell lool st some Pentatonic shapes & sweep picking,
Example 2 isaB Minor Pentatonic (1 ba 4 5 67 +
ee
4 - —=
ny
4
yp 4
ee a
=> 2 E zExample 3 is sequence taking.
N84 Notes of 1 mines pentatonic ata time,
Pentatonic Sequence ( 8 Minor )
Sse
wnoy (oe yey woo
Pe
f
= a Sbespteeteien)
f : se :
5s Ta FL os
silteeetr ae a
a =
eh Mam r miyy ot y
Zoe seeeies ea
Se :
Wi wn
ie on
=|Example 3a
Example 4a, 38, 3
ing the Téth newest
and 3¢ are taking the sare exarhe and displace
cormnike#| mace snteresting rtheniall.
iW 9 =
YAO yee Woe il
ete
wn
ny | ME em
E
=
ir
Ea
Geet
AeCombining Pentatonics
Frample 3¢ —combines2pentatonies Amines and Bini he hey G-major ower an. A ain 7 chon a barencn
=F — te pet
: > =—se- re ==
te ——
aventyant
apr an hiv nn typies
Dive vey
Example 3f—comhines Sminor pematonice (A.B and E ain
wy =|
em YY yy
. :
‘es ; Ss 774
10") o1G major over an A mic ? chord
vyney avy
é pti ier = pepeeeee
Ss
Ss eae
re i eaerrSe
—7
eee =
sey
wel16
ARPEGGIOS are by far the most exciting anpest of
this technique for me.
“The stindaed ampeggio: shapes are generally cut of date,
But at the same tine, its incredible how by changing fas
1 single nate, fas in Example 4a for instance, the T¥ maj?
‘rpepgio) al | changed was the "A? note on the 1D string
Tih Wet which in a standard Major 7 arpepgio would have
Example 4a
Dmj
ciaea
been the 12th fieton the ‘A' sting. Changing this one
rove enabled the sweep paticen to emerge. ne more