Creating new licks and sequences using string skipping, barring, and hammer-ons from nowhere.

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.

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