Try applying this approach to whatever scale or mode you can think of. It’s also fun to play each pair as a two-note chord (FIGURE 7c). FIGURE 7b illustrates the ensuing sequence played across If we apply the noteskipping concept, we get C-Fs as our first pair (FIGURE 7a). Instead of just playing a C major triad (C E G) over C5, let’s add the s4 to the mix, as shown in FIGURE 6 with the notes C, E, Fs and G. This alludes to the C Lydian mode, shown in ascending four-note groups in FIGURE 5b. It’s standard practice with this progression to substitute the raised, or sharp, four (s4) for the five of the C5 chord, sounding C and Fs instead of C and G.
A very common chord progression in rock and metal is Em D5 C5 (FIGURE 5a). This note-skipping concept can be applied to other arpeggios, as well as scales. The pattern sounds cool when continued across three octaves, as demonstrated in FIGURES 4b and FIGURE 4c. FIGURE 3d shows the next pair, B and G, and all three pairs are played in sequence in FIGURE 4a. Now that we have a new pattern, let’s get it under our fingers by alternating between each note pair (FIGURE 3c). In FIGURE 3b, I move on to the next pair, G-E, using the same “outside picking” motion.
What I like to do in order to create a more interesting melodic contour is apply a note-skipping pattern that goes “up two, back one, up two, back one,” etc,” as demonstrated in FIGURES 3a-d: in FIGURE 3a, instead of playing E to G, I play E to B, just like our initial picking exercise. This is how most rock guitarists play arpeggios-straight up and down. In FIGURE 2a, the notes are played sequentially in an ascending fashion in two octaves across the neck in FIGURE 2b, the same notes are played in a different position as a sweep-picked arpeggio (sweep picking involves dragging the pick across the strings in a single downward or upward motion). This is a good exercise for what I call “outside picking,” as the pick movement is consistently on the “outside” of the pair of strings, which is considerably easier than “inside picking.” What I am going to do now is expand on this idea by applying a mathematical pattern to an Em triad arpeggio (E G B). We have two notes, E and B, picked repeatedly with alternating downstrokes and upstrokes, a technique known as alternate picking. Let’s begin with a very simple picking exercise (FIGURE 1) and look at some of the neat and musically interesting variations you can spin from it. USING ALTERNATE PICKING AND NOTE SKIPPING TO PLAY INTERESTING ARPEGGIO PATTERNSĬhapter of Shred Alert, where I’ll teach you many of the techniques I use. The blessings and benefits of live performance 2 SNAKE-CHARMING LICKS The fifth mode of harmonic minor
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How to organize patterns on the fretboardĩ. ACCENTUATE THE POSITIVE Alternate picking with accent patternsĪlternate-picked 16th notes-the business card of shred guitar Using position shifts to your advantage when soloingĥ. READY TO RUMBLE, PART 2 More pick-hand warm-up exercises Quick, effective pick-hand warm-up exercisesģ.
Using alternate picking and note skipping to play interesting arpeggio patterns
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