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
One of modern rock’s most buzzed-about shredders shares his insights on an often-misunderstood topic.
Theory: Intermediate
Lesson Overview:
• Develop proper sweep-picking technique.
• Learn how to move across two, three, and four strings.
• Create diatonic shapes that move up and down the entire fretboard.
Click here to download a printable PDF of this lesson's notation.
This lesson is about my bittersweet relationship with sweep picking. To be honest, sweep picking has always scared the ever-living crap out of me (and it still does). For whatever reason, it has taken years for me to find any use for it. It’s only recently I’ve found myself applying the technique here and there, kind of like a loose light bulb flickering on and off.
Well, I finally put on my big-boy pants and started tackling it, or rather, it started tackling me.
When you adopt a new technique, it all comes down to context: where you learned it, how you learned it, and the application. For me, the neo-classical art of sweep picking, although pivotal in its contribution to rock and metal music, has never been quite enough to get me off my feet. I never really found a use for that super-rapid sweeping motion for my sound or phrasing. It just didn’t stick in my ear. But arpeggios are essential in writing and playing, and now—who knows why—sweep picking has become an itch I need to scratch.
So I devised a way to make use of those same good ol’ 5-string patterns and sweep them in a way that compliments my sound. In the space allotted for this lesson, I can’t get into too much depth with every way I’ve found to use sweep picking, but I can show you how it all started. You are getting the very first preview ever of my growth as a soon-to-be-sweep-picking fiend … but from what I believe to be a more modern take on this technique.
Let’s begin.
First, I’ll give those of you who may be unfamiliar with sweep picking the lay of the land. Basically, you want to play each note of the arpeggio as cleanly as possible by pushing the pick through each string. If you do this at a fast-enough pace, either ascending or descending, you generate a nice sweeping motion.
Ex. 1 is a simple D major (D–F#–A) arpeggio that rotates through a triplet rhythm at a medium tempo. Use this warmup exercise to get a feel for the sound and structure of this picking approach. As you play through this example, notice how each note occurs on a new string until the pattern turns around on the 1st string. This is what allows you to push across strings 5, 4, 3, and 2 using one continuous downstroke or upstroke.
Click here for Ex. 1
In Ex. 2, we move to the F#m triad (F#–A–C#), which is still diatonic to the key of D major. This shape stretches out your hand a bit more—especially on the top strings—so focus on being as relaxed as possible to prevent your muscles from becoming strained.
Click here for Ex. 2
Now we’ll move to the diminished triad, which for our purposes will be G#dim (G#–B–D). This might feel odd at first, but will serve us well in our upcoming examples.
Click here for Ex. 3
In this next section (Ex. 4, Ex. 5, Ex. 6), we’ll divide up the same three arpeggios and practice them using subdivisions to increase speed. We’ll start out playing quarter-notes, quarter-note triplets, eighth-notes, eighth-note triplets, 16th-notes, and then reverse the order.
Click here for Ex. 4
Click here for Ex. 5
Click here for Ex. 6
This next part is how it all began for me. I needed a way to play these arpeggio shapes up and down the neck in a way that adheres to my sense of legato. Here, I lay out how to move through the neck diatonically over three strings (Ex. 7), four strings (Ex. 8), and five strings (Ex. 9). Using diatonic or functional harmony is super-important for songwriting and can be equally useful in practicing technique.
The idea here is to connect the arpeggios together one after another. In my opinion, this creates more of a continuous legato sound when sweeping, as opposed to the rapid neo-classical sound.
Click here for Ex. 7
Click here for Ex. 8
Click here for Ex. 9
Now let’s sweep through a pair of triads using inversions. In Ex. 10, we’re moving between a D major triad (D–F#–A) and an E major triad (E–G#–B), both in 1st inversion. An inversion is simply the same notes in a different order, and in this example, each shape has the 3 (F# for D major and G# for E major) in the bass.
Click here for Ex. 10
Naturally, we’ll move to the 2nd inversion of these triads for Ex. 11.
Click here for Ex. 11
Our final opus (Ex. 12) takes us through all inversions of the D and E major chords across five strings up and down the fretboard. It’s a heck of a workout.
Click here for Ex. 12
That’s all folks. Thanks for stopping by. Go shred some heads!
Carlos Delgado [CC BY-SA 3.0], from Wikimedia Commons
Progressive metal’s most influential guitarist combines immaculate picking technique with aggressive tones to create the most technically demanding licks around.
Chops: Advanced
Theory: Advanced
Lesson Overview:
• Gain a deeper understanding of complex, shifting time signatures.
• Learn fast-paced, alternate-picked riffs.
• Create phrases that use legato, sweeping, tapping, and alternate picking. Click here to download a printable PDF of this lesson's notation.
Formed in 1985 at Boston's Berklee College of Music by drummer Mike Portnoy, bassist John Myung, and guitarist John Petrucci, Dream Theater continues to be one of the titans of progressive rock and metal. While the group would consist of this basic trio at the core until Portnoy left in 2008, over the years they've had a handful of keyboard players and several vocalists. (Current keyboardist Jordan Rudess has been in the band since 1999, and singer James LaBrie has been in the fold since the band's second album, released in 1991.)
There's no disputing that Dream Theater is the quintessential prog band for fans of proficient instrumental skills and metal. For over 30 years, Petrucci's trademark style has influenced generations of players through the group's 13 full-length studio albums. The band's sound has evolved a lot over the years, from the softer rock albums like Falling into Infinity, to the classic prog-rock of Images and Words, grand concept albums like Octavarium, and heavy metal shred-fests like Train of Thought. Each one is underpinned by Petrucci's astonishing technique. He's developed into an absolute master of picking, legato phrases, sweeping, tapping, and more.
In regard to his tone, any nice humbucker-equipped guitar through a modern high-gain amp will do the trick. However, if you'd like to be a little more authentic, Petrucci has signature guitars, amps, and pedals from Ernie Ball Music Man, Mesa/Boogie, and TC Electronic, respectively.
Because the examples in this lesson are going to get pretty hard, I thought it would make sense to start with a simple-ish riff that sticks to 4/4. Petrucci likes to flesh out his voicings beyond the basic power chords heard in most metal, and with his thick distortion, certain intervals create a lot of dissonance.
In Ex. 1, beginning around the E5 chord, there's a rich cluster added on the high strings that contains both E and F#. These notes are a whole-step apart and create a pleasing tension. The final measure features a rich Csus2 chord, as the 2 works a lot better with distortion than the 3. This allows you to let the chord ring out as you arpeggiate it.
Click here for Ex. 1
Ex. 2moves between 5/4 and 9/8 time. If you're new to time signature changes, I covered them in detail in my Obsessive Progressive lesson “Get a Grip on Odd-Time Signatures."
In my mind, I'm counting: 1 + 2 + 3 + 4 + 5 + | 1 + 2 + 3 + 4 + 5 |
This yields a measure with five full beats, and then a bar where the fifth beat has been cut in half. It's possible to count to nine, but since the number seven contains two syllables, it can be easier to count both measures as “five" and throw out the extra count. If you're going to count to nine, you want to count one, two, three, four, five, six, sev, eight, nine.
Click here for Ex. 2
Ex. 3is conceptually similar to the previous idea. There's a measure of 4/4, which could be thought of as a full measure, and then a measure that's just short of being full. This creates a jarring sensation—like the music trips.
I've written this as a measure of 4/4, then a measure of 7/8, but you'll often see the same idea written as 15/8.
Click here for Ex. 3
The next example (Ex. 4) changes time signatures every measure and moves between 4/4, 7/8, and 3/4. This is a pretty tricky example, so spend time to really come to grips with the counting before learning the part. Rather than attempting to maintain a strict count when tackling a passage like this, try to internalize it—so you can feelthe line as you play it—especially as the note choice doesn't conform to any key or scale.
Click here for Ex. 4
Ex. 5is as rhythmically complex as it's likely to get, shifting between four different 16th-note-based time signatures. The secret here is breaking down each bar into smaller groupings and counting those (an idea that's integral to mastery of the Indian Konnakol system). I've grouped the notation with this counting in mind, so it's easier to see.
Measure one consists of a group of three (an eighth-note followed by a 16th-note), which is repeated, before playing a group of four, then a group of three to end. This gives us the following pattern:
1 2 3 | 1 2 3 | 1 2 3 4 | 1 2 3 |
See if you can break down each of the remaining measures with this method.
Click here for Ex. 5
The final three examplesshowcase Petrucci's technical prowess in soloing, beginning with his formidable legato chops. Ex. 6 moves from the 2nd fret up to the 15th rather quickly. In essence, you repeat an eighth-note motif played within the three-note-per-string patterns before shifting up to the next shape (using the first finger) to repeat. To get this one down at speed, you'll need to be confident of your three-note-per-string patterns, which in this case are in the key of G.
Click here for Ex. 6
The next idea (Ex. 7) is a tricky lick combining sweep picking, tapping, and a tough stretch on the fretting hand. Taken from the E Lydian mode (E–F#–G#–A#–B–C#–D#), the idea requires you to stretch between the 12th and 18th frets, with a gap between each finger. This applies to both the sweeping arpeggios and the legato moves on the top string.
Another interesting part of this lick is the “glitch" in the sweep, where you repeat the note as you change direction. At speed, these create a cool sound. (Note: They're also a big part of Tosin Abasi's style.) It also makes the lick a little easier, as you never have to skip over a string.
The final bit of advice here is to sweep with the pick over the fretboard as you're going to need to come in and tap at the 19th and 21st frets. Keeping your picking hand hovering over the pickups will make this extremely tricky.
Click here for Ex. 7
The final example (Ex. 8) takes cues from Petrucci's unison and harmony runs with keyboardist Jordan Rudess. These are common in Dream Theater's music with “In the Presence of Enemies Pt. 1," “This Dying Soul," and “In the Name of God" being great examples.
There's no hiding from the fact that this example requires some astonishingly accurate alternate-picking skills. Petrucci's picking is known for being near perfect. Combine that with the tight harmony with Rudess, and you can see how any picking fluctuations will completely ruin the overall effect. In this example, I added a keyboard a third away from the guitar line. Naturally, you'll want to take this lick extremely slowly and build up speed over time.