Rethink your approach to pentatonic shapes by pushing the limits of your picking.
Advanced
Beginner
• Visualize different string groupings for pentatonic scales.
• Understand the basics of economy picking.
• Learn how to create lines in the style of Eric Johnson, Shawn Lane, and Joe Bonamassa.
When I first heard about economy picking, the simplicity intrigued me. The concept is relatively straightforward: After a downstroke, if you're moving to a higher string, you make another downstroke. If you travel to a lower string, that requires an upstroke. Many beginners often intuitively do this. It wasn't until a bit later that I adopted a regimen of strict alternate picking for scales and sweep picking for arpeggios. But the idea of economy picking echoed in my mind. Wouldn't it be wonderful to have one picking style that could fluidly transition from arpeggios to scales? As time went on, I explored players like Django Reinhardt, Frank Gambale, and George Bellas, and economy picking naturally found its way into more of my technique.
I want to preface this lesson by saying this picking option may be a useful addition to what you do, but not necessarily replace your picking style.
Picking can be related to drum sticking, where your upstrokes and downstrokes are similar to a drummer's right and left drum strokes. In a fill, the drum strokes aren't always going to alternate, and other sticking patterns are common to make the most efficient movement around the drum kit. For the audio examples here, I am playing everything on a nylon-string Martin 000C miked so that you can really hear the percussive attack, but the ideas in this lesson can be used on electric guitars and in any musical style.
Even early on in my economy picking exploration, I wanted to apply this technique to phrases built on pentatonic scales, which are typically played in a two-note-per-string (NPS), alternate-picking style. Consider this: Arpeggios are often associated with sweep picking, and they're often played in a one-note-per-string style. Major scales and modes typically use a three-note-per-string fingering. The examples presented in this lesson focus on combining these NPS numbers into what we'll refer to as "string groupings." All the examples in this lesson use the A minor pentatonic scale (A–C–D–E–G), so it should be familiar territory for you.
For Ex. 1, instead of playing the minor pentatonic as you commonly would with two NPS, we will play a string grouping that we'll call 2+1. That means we will play two notes on a string, then one on the next, and so on. Pay close attention to the picking directions here and think of it as a sweep picking effect, where the pick simply lands on the next string, ready to play it, without having to jump over it first or change direction.
As for the fretting hand, we'll use a bit of a rolling technique here: If two notes are played by the same finger on different strings, you roll your finger (from tip to pad or vice versa) to fret the next note. It's like a mini two-string barre chord, but the notes sound one at a time, rather than ringing out together.
Ex. 1
Ex. 2 has a different grouping: 1+1+2, i.e., one NPS, one NPS, then two. This will give us an even four-note phrase to ascend string sets, then descend. Also, notice how I tend to start with a downstroke but as the phrase continues, the next pattern starts on an upstroke. In the beginning, you have to really be mindful about the pick direction. But at some point, your hands will develop a synchronicity where your right hand naturally follows the notes that your left hand is playing. This requires less attention than alternate picking, and it allows you to just focus on the notes you're playing.
Ex. 2
Next up is a five-note phrase based on a 2+1+2 formula (Ex. 3). I've always been drawn to the rhythmic accents that phrasing in five gives you over a 16th-note subdivision. Also, pay attention to the left-hand fingering where you roll your index finger across strings. You don't want the notes to ring into each other; instead, strive for a clean separation when transitioning from note to note.
Ex. 3
Ex. 4 features another grouping of five. This example is a string grouping of 1+2+2 NPS. This has a similar sound to licks by Eric Johnson or the late Shawn Lane. Although both these players mostly used alternate picking for pentatonic scales, they would use economy picking to play phrases consisting of odd groupings.
Ex. 4
Ex. 5 delves into playing patterns across four strings at a time. This one uses a string grouping of 2+1+1+2 NPS. Notice that there is a string skip as the pattern begins on the next string set. For that leap, travel in the pick direction of the leap—this often yields two of the same pick directions in a row. Practice slowly and eventually this movement will become very natural.
Ex. 5
Now let's move into some three-note-per-string pentatonic scales. Ex. 6 includes all the notes of a pentatonic scale, but in a grouping of 3+1 NPS. This may be a bit of a stretch, but the sounds and sequenced patterns available in this approach are really captivating.
Ex. 6
One of the patterns achieved from this stretched-out pentatonic shape is found in a string grouping of 3+1+2, as shown in Ex. 7. Hopefully you can hear the smooth sound economy picking offers you. While you could play these same exact notes using two-NPS alternate picking, that would yield a different sound from how it's notated here.
Ex. 7
Now for a fun seven-note grouping: Ex. 8 uses a string grouping of 3+1+3. When you have an odd pattern of notes like this superimposed over a steady current of 16th-notes, it creates an interesting sound. Now, instead of isolating the ascending and descending versions, try playing each grouping up and then back down. Invent your own combinations!
Ex. 8
Since we have stretched to this wider scale shape, let's try it with some of the previous string groupings. Ex. 9 uses the three-note-per-string pentatonic stretch, but only plays the outer two notes. This example is with a 2+1 string grouping that gives you some interesting interval leaps—some notes are far apart and others close together.
Ex. 9
Our last example (Ex. 10) uses a wider stretch in a 2+1+2 string grouping. It moves around vertically in its five-note phrase. Notice how this is more like arpeggio sweep picking than some of the previous examples.
Ex. 10
Take the ideas presented here and elaborate on them. Imagine these economy picking examples transposed into the four other pentatonic shapes and into other keys. Another approach I love to play with is side-slipping a fret higher or lower in and out of key. Also, instead of playing long streams of notes without pause, try isolating each grouping with sustained notes between them, or use different rhythmic subdivisions, such as triplets. One of the cool things about economy picking is how a specific combination of pick directions can yield a cascade of notes from one smooth movement. Happy picking.
This article was last updated on August 20, 2021
Step outside the comfort of your well-worn fingerings and create new sounds with an old bebop trick.
Chops: Advanced
Theory: Intermediate
Lesson Overview:
• Use enclosures to target chord tones.
• Create compelling lines by adding chromatic notes to symmetrical fingerings.
• Improve your hybrid-picking and legato techniques.
Click here to download a printable PDF of this lesson's notation.
It can be incredibly easy to become trapped within a set of comfortable fingerings. When that happens, your lines begin to feel stale and predictable. In this column, I’d like to introduce you to some jazz-influenced phrasing ideas that fit quite nicely in a three-note-per-string framework. The centerpiece of this concept is what’s called an enclosure. Simply speaking, it’s when you target a note by surrounding it with other—possibly non-diatonic—notes to create more tension and interest. Think of short phrases that highlight certain diatonic notes on strong beats while adding chromatic notes on either side of the diatonic ones. Even with only a few chromatic enclosure fingerings under your belt, you can start to add a slightly jazzier sound to your rock licks.
Each phrase in this lesson demonstrates just a small amount of what you can do with chromatic ideas. Be sure to take what you like from the licks and try to apply them to some of your favorite rock licks. For example, I had a lot of fun mixing these enclosure ideas with some classic Paul Gilbert-style runs. Though the phrases I play here mostly use legato and hybrid picking, I encourage you to try this concept with whatever techniques you find comfortable.
Before we start, it’s very important to be aware of how playing chromatic passages, especially faster ones, can affect the rhythmic and harmonic movement of your line. The enclosures I’m using in the first few examples are structured to let diatonic notes fall on strong beats of the measure or in strong segments of the subdivision. Some of the lines later in the lesson really demonstrate how we can simply use chromatic legato rolls to add an extra sense of speed and style to our classic shred licks and phrases.
Ex. 1 demonstrates a three-note-per-string scale fragment in the key of Em that uses two different fingering combinations on each string. In the first measure we outline the basic fingering using a legato feel. In the last measure we add in some chromatic notes.
Click here for Ex. 1
For Ex. 2 we’ll use a symmetrical scale pattern (shown in the first measure). Notice how we make sure to land on a chord tone on beat 3 of each measure. Both this example and Ex. 1 will be the basis for most of the lines we’ll cover in the lesson. Look for these chromatic enclosures in all diatonic fingerings and other scales.
Click here for Ex. 2
In this lick (Ex. 3), I wanted to show how we can directly apply the enclosures we looked at in Ex. 1. You will notice the use of slides and legato throughout this line. I also added in a few double notes on the start of beat 3 of the second measure to create a cool syncopated effect.
Click here for Ex. 3
Ex. 4 uses the enclosures we looked at in the first two examples, but this time we are in the key of C major. We’re using a strict 16th-note feel all the way up until the last few beats of the third measure. You’ll notice I’ve included some full chromatic legato rolls throughout the example. Don’t get caught up in the rhythmic subdivisions in the third measure—they’re simply a guide.
Click here for Ex. 4
Ex. 5 features a really funky C Dorian (C–D–Eb–F–G–A–Bb) phrase that was inspired by Greg Howe. We are using a wider chromatic enclosure pattern to open the lick up. This enclosure pattern can be used for any diatonic fingering that features two whole tones next to each other. The lick uses some hybrid picking to pedal back and forth between the 4th and 3rd strings in the first measure.
Click here for Ex. 5
We’ll go full shred in Ex. 6, which shows how to combine diatonic legato lines and chromatic legato rolls for a really crazy-sounding shred lick. Rather than being all chromatic and sounding like a video “game over” screen, the diatonic notes bring a harmonic and rhythmic framework into the mostly chromatic line.
Click here for Ex. 6
Last but not least, this terrifying rhythmic 16th-note triplet phrase (Ex. 7) uses a pattern of descending groups of three in C# minor and was heavily inspired by Nick Johnston. Be sure to keep very relaxed during this line, especially when it gets chromatic on the 3rd string. I visualize this part as just a three-finger phrase on the 9th, 10th, and 11th frets moving down towards the 8th, 9th, and 10th, respectively. This makes the lick much easier to execute.
Click here for Ex. 7
This next audio-only example illustrates how to practice applying new sequences in your improvisation. In Ex. 8 you’ll notice I’m navigating the neck with only eighth-notes, trying to find new places to go and ways to apply some of the smaller fragments of the licks we’ve explored in this lesson. Doing this slow enough allows me to fully think about where I’m headed next and helps my brain process the smaller fragments into a more spontaneous area of my reflexes. Try this with any backing track and have fun developing your own chromatic enclosures.
A simple rhythmic shift can breathe new life into your trusty licks. Combine that with a few strategic rests, and you have a recipe for some truly twisted lines.
Chops: Advanced
Theory: Intermediate
Lesson Overview:
• Learn how to spice up standard licks with rhythmic displacement.
• Find ways to enhance pentatonic scales with string skipping.
• Explore altered-dominant sounds.
Click here to download a printable PDF of this lesson's notation.
As a rock guitarist, I like to have many concepts for improvising at my disposal. This keeps things exciting and helps me avoid going into autopilot mode. One of my biggest revelations was learning to create patterns built around odd 16th-note groupings. This system allowed me to manufacture syncopated, funky-sounding lines from very simple patterns. As a bonus, I found I could string these lines together with other ideas to create longer phrases.
Then I realized I could start some of these sequences on different beats within the measure. This not only helped me break out of the improvisation rut I was in, but the rhythmic displacement these odd groupings created also taught me to really focus on how I end my lines.
I’d like to share a few of my favorite patterns so you’ll be inspired to create your own phrases to use in your soloing. At the end of this lesson, you’ll find a short backing track to jam over while test-driving some of the licks we’ll cover here.
Ex. 1 shows a simple four-note sequence that’s based in A minor pentatonic (A–C–D–E–G). The basic 16th-note rhythm will help us lock in with the click and serve as a starting point for the more twisted licks to come.
Click here for Ex. 1
We can now move that exact sequence from Ex. 1 and displace it one 16th-note to create a totally different lick (Ex. 2). This is one way to generate fresh sequences from familiar pentatonic patterns. Also try this with triplet-based licks.
Click here for Ex. 2
Sticking with A minor for Ex. 3, we start with a rhythmically displaced 16th-note line that incorporates some strategically placed rests. In the second measure we creatively outline an Am9 arpeggio.
Click here for Ex. 3
Ex. 4 is based on a C# blues scale (C#–E–F#–G–G#–B) using some string skipping and a seven-note grouping over a 16th-note pulse.
Click here for Ex. 4
Ex. 5 uses a repeated rhythmic motif throughout an Ab minor pentatonic (Ab–Cb–Eb–F–Gb) phrase. Pay attention to each “X” in the tab—these are muted notes that can sound really funky and can help you lock into the groove. At the end I have a shreddy string-skipping lick that I just added for fun.
Click here for Ex. 5
Here we have a phrase in B minor (Ex. 6) that uses our seven-note pattern from Ex. 4, except this time we have a few larger interval leaps. The last couple of measures feature a repeating five-note pattern over a 16th-note subdivision.
Click here for Ex. 6
We’re going for an altered sound in Ex. 7. The basic tonality is an F7b9 with the subtle addition of the Gb in the second measure. I start on the second 16th-note of beat 1, but you can try launching it in other places. In measure 1, I like how the F note on the 1st string is accented in beat 2 and the C gets accented in beat 3. I use hybrid picking to make these notes pop out.
Click here for Ex. 7
Finally, Ex. 8 is a tricky beast that incorporates several of the concepts we’ve previously discussed. It starts with some string-skipping licks in groups of five. (These alone would be a great exercise to work through various keys.) We’re working through the G minor pentatonic (G–Bb–C–D–F) scale in 7th position before finishing with a nutty tapping lick. This is one of my favorites to play.
Click here for Ex. 8
And now here’s the backing track I promised earlier. It’s designed for you to loop and practice over—check it out below.