Free ear training tools for musicians. Guitar Lessons, Interviews, News, Reviews, & More. May 16th, 2011 by Paul Wardingham Welcome to Guitar Messenger!
My name is Paul Wardingham, and I’m going to be showing you how to play some futuristic-themed shred ideas using excerpts from my new album Assimilate Regenerate, as well as a solo written and recorded exclusively for this lesson. Whenever a student asks me how to play so-called ‘futuristic’ sounding licks, there are certain techniques and scales that always seem to spring to mind when trying to create this sound. Example 1 is taken from the last solo in the track ‘Cyber Warfare,’ and uses a sequence of sweep-picked sus2 arpeggios (R,2,5). The lick begins with a descending Esus2 arpeggio and then slides down to an ascending Csus2, up to Esus2, down to Dsus2 and finally a Gsus2 arpeggio with an F# and E added for a nice flavor. When playing arpeggios with odd groupings of notes per beat, aim to land the first note of each arpeggio pattern on the beat and the rest should fall into place. A variation on these bars follows. John Petrucci - Sequences HQ.
A Clean Sweep: Mastering Sweep Arpeggios. John Petrucci breaks down the mechanics of the proper sweep arpeggio.
Here's a classic column from the pages of Guitar World magazine. I always get frustrated when I hear someone talking about sweep arpeggios. Though there are plenty of licks and examples out there, no one has ever really broken down the mechanics of the technique. As a result, guitarists have had to figure them out by trial and error. This became all the more evident when I was teaching. My students repeatedly made the same mistake: they'd hold a barre chord while articulating each note.
The best way to learn sweep picking is to first isolate the right- and left-hand techniques, master them separately and then coordinate them. This technique feels weird at first, but picture your right hand as a Slinky going down from step to step-just let it fall. Now let's look at the left hand. Let's look at an example of the rolling technique, using a major triad shape on the D, G and B strings (Figure 2). Romancing the Fretboard: Chopin Arranged for Guitar, Part 3.
Well, gang, here it is: the final installment of Chopin's Piano Concerto in A minor, Opus No. 2.
Those of you who have braved the storm of 16th notes over the past two columns have earned the right to pat yourselves on the back. You're going to get a bit of a reprieve this time, because, at the beginning of this section, Chopin restates the first six bars of the piece and then adds bars 15-17 of the opening section for good measure (use my column Romancing the Fretboard, Part 1 as a reference). Assuming you've worked out these parts already (and I hope you did), that only leaves you with five new measures to learn. Major Seventh Arpeggio Tabs For Guitar. The tabs below show some of the most common patterns for major 7th arpeggios.
The examples are shown for C major 7. All patterns are moveable so just move the root to play different keys. C Major Seventh Arpeggio pattern 1. Root note on sixth string, eighth fret. C Major Seventh Arpeggio pattern 2. C Major Seventh Arpeggio pattern 3. C Major Seventh Arpeggio pattern 4. C Major Seventh Arpeggio pattern 5. Click on the links below to find more arpeggio patterns. Major Arpeggios. Songwriting.