Wow! The first thing I want to say is a huge thank you to all the readers of this column! I’m getting some great feedback on this sweep picking series! I’m so glad that it’s helping you guys and gals get your sweep picking chops together.
So far we’ve covered everything from just beginning to learn the concept of sweep picking, to working our way around the fret board with this really cool technique. In this installment we’re going to get into a little more complex fingering, with some very interesting results.
The shapes illustrated here will be a bit more unorthodox than those we’ve talked about so far. We’ll keep the depth that we’ve reached, but use different ideas for achieving that depth. To be honest I had to practice these approaches more than the typical arpeggio shapes, but eventually I got a handle on them and I really enjoy playing them, and incorporating them into my writing and soloing. I hope you will too.
As always I’ve provided audio for each example so check that out. You’ll get a much better idea of how these arpeggios can be used and, how interesting they sound. I’ve also provided the picking directions in detail and, added the associated fingerings.
In the first example we’re using an add9, add13 arpeggio. It contains the 1, 3, 5, 9, and 13. If you’ll notice, the b7 is not present hence the “add” in the name. This arpeggio will go well with any major chord. I use finger 1 for C, finger 2 for G, finger 4 for D, back to finger 1 for E, finger 2 for A, and my pinky for the high E.
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Fing. 1 2 4 1 2 4 ...
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| Here’s the same arpeggio at a quicker tempo. |
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This is a minor add 9, add b13. It contains the 1, b3, 5, 9, and b13. It goes well with any minor chord. I’ve also included the fingering.
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Fing. 1 2 4 1 2 4 ... |
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| Now the same arpeggio at a quick tempo. |
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| This is a very symmetrical arpeggio constructed in 5ths, with a 4th appearing in the second octave. At a quicker tempo it has an ethereal type of sound. Illustrated first at a more manageable tempo. |
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| Now with a quick tempo and the “ethereal” tonality. |
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| In this example we’re really going for the “shock” value. The arpeggio has an interesting tension and release. We basically take example 6 and slide it up a whole-step while ascending, and slide down a whole-step while descending. This always gets the listeners attention so I love using it. |
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| In the final example we use the symmetrical arpeggio at a quicker tempo. |
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We’re gaining some serious ground in our sweep picking studies. These examples are not the typical shapes used. They’re a bit different, and offer a new aural experience for the listener. Be sure and read the explanation of the math behind the arpeggio. This will be a benefit to you in the future as you learn to incorporate these shapes into your playing. As always use a metronome, I suggest using a clean tone at first and, don’t forget to have fun. See you next month in Lethal Guitar.