Dave Martone shows you how to combine an intervallic approach to playing arpeggios with some wicked hybrid picking
When I dig into a burning solo, I like
to combine different techniques that
can give my lines an interesting feel. In this
lesson, we’re going to combine an intervallic
approach to playing arpeggios with some
wicked hybrid picking.
Displacing certain notes in the arpeggio and combining them in odd groupings creates a flowing, angular feel that will make people say, “Hey! What is that?” These examples will involve a lot of string skipping, so in order to play them at breakneck speeds, we’ll need to use some hybrid picking. Essentially, hybrid picking is when you use the other fingers on your picking hand—usually the middle and ring fingers— in addition to the flatpick. Hot-rod country players have been doing this forever, and we’re going to steal it and combine it with some pure rock fury.
In the first example shown in Fig. 1, I’m playing a G#m arpeggio starting on the b7th. This works really well over the F#m. Since F# is the second note of an E major scale, this chord functions as a iim7. This arpeggio will be our starting point for adding some intervallic displacement, since right now it sounds a little plain. Download Example 1 audio...
In Fig. 2 we take the same arpeggio and create a seven-note pattern that will repeat twice. In the example I have notated which finger to use for each string with a representing the ring finger and m indicating the middle finger. The missing last note gives the lick a displaced feeling, but continuing with the 16th-note rhythm adds excitement. The arpeggio is pulled apart by bouncing intervals between the b7 and the lick’s root note, and with the 5th, b3rd, and the b7 occurring an octave higher. In the audio example, I cycle the lick twice so you can hear the connection between the two seven-note patterns.
Download Example 2 audio...