After covering various techniques
and approaches over
the past few columns, I figure it
might be fun to combine some
of these ideas to create new licks
and sequences. In the following
examples, I’ll combine string
skipping, barring, and hammer-ons
from nowhere.
Fig. 1 involves the use of a diminished
arpeggio sequence that merges
all three of the above concepts. The
combination of big interval jumps
generated by string skipping and the
hyper-speed possibilities provided by
the barre, creates the potential for an
insane-sounding result.
To play these examples, I recommend
hybrid picking (plucking
strings with one or more of the
available picking-hand fingers in
addition to the pick), as it makes it
easier for you to execute these ideas
and make them sound tighter.
Fig. 2 is a long melodic exercise
that also combines barring and
string skipping. In this example,
we’re outlining a classic chord progression
in the key of D major using
major and minor triad arpeggios.
This passage is designed with a triplet
feel and alternates between two
very distinctive 12-note sequences.
The arpeggiated F# minor triad
involves a huge stretch between the
10th and 16th frets. If you find
this physically impossible, simply
change the F# (16th fret, 4th string)
to E (14th fret, 4th string). It will
no longer be a genuine arpeggio,
but it will still sound great. The
overall concept is much more
important than the actual notes.
Combining these techniques
yields many possibilities, so I
recommend experimenting on
your own. You may be surprised
with what you discover.
Greg Howe has
enjoyed a successful
recording career since
bursting onto the scene
in 1988. His talents have
been sought out by some
of the biggest names
in the entertainment industry, including
Michael Jackson, Justin Timberlake, and
Enrique Iglesias.