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
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.