Ideas, Phrases and

Exercises for the

Modern Guitarist

by Toni Lloret
© Toni Lloret Tercero 2004
Translated by Gav Miles

Depósito Legal: B-50641-2004

CD0020
Contents
This book is presented in four sections, one section for each of the
techniques used most in modern guitar playing.

1. Alternate Picking: Sequences on one string, two strings, all six

strings, arpeggios, pentatonics, ideas and phrases and hybrid
picking (pick and fingers)

2. Legato: Legato with scales, legato and picking, pentatonic

legato, arpeggios with string skipping, stretching and stretch
arpeggios.

3. Sweep Picking: Sweep Picking from 2-6 strings, sweeping and

Modes, arpeggios and scales, economy picking, ideas and
phrases and finger sweeps.

4. Tapping: Tapping scales, pentatonics, arpeggios, using various

fingers for tapping and taping with string skips.

Each of these sections will be explained in further detail later on in the

book.
Introduction
One of the most common problems that guitarist’s come across after
having learnt a new idea or phrase is putting it into practice, whether it be
in a composition or an improvisation.

Normally, if the student learns an idea and does expand on it and make it
his own he can become trapped, and only play it in the way it was learnt
and not feel “free” when he/she is playing and will then resort to the old
clichés.

In this book I’m going to attempt to give you different ideas and avenues
that you can use in order to make the licks your own. One of the main
points when playing any lick of phrase is the ability to see it in various
positions on the fret board.

We should be able to move our idea around the fret board whilst being
aware what we are doing and the intervals involved. It’s for this reason
that in practically all the examples in this book the intervals are clearly
visible. Perhaps at first, if we only know 2 or 3 patterns, the diagrams
might look limiting if we want to move all over the fret board but if we
have an understanding of how this pattern is made we can apply this to
other positions all over the neck. This really opens things up!!

But this is only a means to an end. You’ve got to make music and no
matter how well you know the fret board – if it’s not musical you’re not
doing it right. What we want to achieve is a good choice of notes played
with a good technique- and that’s it.

It’s for this reason that the ideas in this book are presented as exercises and
in this way the student can study his/her technique and be able to visualise
the fret board and be able to come-up with their own ideas.
How to use the book
It’s very important that you read this section in order that you understand
the ideas and the principle objectives of this book. Although I think that
this book is suitable for all levels and styles of guitar playing this does not
means that everyone has to use the book in the same way.

The beginner will probably use this book from the beginning in order to
get the picking hand working, whereas the more experienced player, who
may have a good picking technique, might go straight to the tapping
section.

It’s perfectly possible that after hearing some of the examples in this book
you think that some of the material is not applicable to your particular
style of music or perhaps it not what you would normally practice and
that’s fine. But we can only learn by studying new material. But I really
believe that whatever your style of music this book will forfill it’s
promise- how to come-up with your own phrases, ideas and exercises and
adapt them into your own playing.

Feel free to take any idea presented in this book and use it as you wish-
think of the book as a dictionary if you like. Take an idea, analyse it, play
it, come up with some variations. But you must always be aware of what
you are playing and why. Or the other way is to go from cover to cover.
Having said that, the book is presented in a way that the material is very
progressive and for that reason the material at the end of the book perhaps
might not be totally suitable for the complete beginner.
Using the Book
This book can be used in one of two ways.

A You can take and idea that catches your attention and practice it until
it forms part of your vocabulary. This is a good way to use the book this
way the book becomes a type of “idea” dictionary.

B Or you can take the ideas that you need to improve on, working
exclusively on those techniques that you don’t quite control.

Both ways are equally feasible for all guitarists, although towards the end
of the book things start to get a bit more advanced.

Audio and Video Examples

All examples in this book have their respective audio file. Theses files are
presented in MP3, which requires an appropriate player.

In the videos you can see variations on the ideas presented. If you have
any fingering problems or you want to confirm those pick strokes then this
is the place to check-out what I’m doing. These can be seen on Windows
Media or any similar program. Normally these programs are pre-installed
on the majority of home computers and therefore you should not have to
buy separate programs.
Thanks
I would just like to thank all those who have helped and encouraged me
during this project and due to them this book has, finally, seen the light of
day.

Gav Miles for his great job on the translation of this book, a thousand
thanks Gav.

Jamie Buelta and David Luis Vañó for his help with the cover
design.

Jamie Villanueva for his advice and general comments on how I

could improve the layout

To all my students for being great mates

To all the great guitarists who have influenced me to write this book

To everyone all who has sent me messages of support, via Email or

through visits to the web page, which has helped me to keep working
on this project.

And to you for buying this book. I sincerely hope that it helps you to
improve whilst enjoying the guitar.

I can be contacted at the following address

[Link] / [Link]
toni-lloret@[Link]
gav@[Link]
Alternate Picking
In this section we are going to look at some ideas and exercises
that use Alternate Picking.

Alternate Picking uses a technique where we are hitting the

strings with and down stoke (towards the floor) and an upstroke
(towards your body) and this is then repeated – down, up, down,
up, down etc. Or we can do it in the opposite way, by starting
with an upstroke and then a down stroke. Up, down, up, down....

I really recommend that you practice these Alternate Picking

exercises with a clean sound and that you practice both the
“down, up” pattern and the “up, down” pattern. This may seem
difficult at first but believe me; it’s really going to get your
picking hand in order.

It’s also very important that you practice with a metronome. Start
very slowly, at a speed that you can manage to play the exercises
comfortably and bit-by-bit increase the tempo, always making
sure that the notes are well defined and not messy!!

In all the examples the pick-strokes are included as is the left-

hand fingering.

The videos will show you the different ideas and variations that
you can come-up with using the various examples.

All the examples are arranged from Easy to Hard.

The first section, which deals with examples 1 to 72, is setout in

the following manner:

ü Ideas and sequences on one string (1-6)

ü Sequences on two strings (7-13)
ü Ideas and sequences on six strings (14-28)
 ü Arpeggios with alternate picking (29-34)
ü Pentatonic with alternate picking (35-41)
ü Phrases with alternate picking (42-53)
ü Hybrid Picking (54-58)
ü More Phrases (59-72)

Ideas and sequences on one string (1-6)

In the first examples we’re going to use just one string. These
exercises are quite easy, as we do not have to change strings.
Because we do not have to change strings we can concentrate on
getting good coordination between the fretting and picking hands.
This coordination is fundamental for a good picking technique.

Sequences on two strings

The next step is to now move-on to two strings (7-13).

This is where things start to get interesting as the picking hand

has to move a little bit more when changing strings.

It’s very important that you play these examples in the following
manner; first with an upstroke, down stroke etc and then starting
with down stroke, upstroke. Try and keep the notes “even” and if
at any time you have a problem, then slow down and take things
slower. You must remember first accuracy and then speed.

Ideas and Sequences on six strings (14-28)

In this section we’re using all six strings. Don’t just play the
examples written here! Try to come-up with your own variations
and sequences. This is a great way to memorize any new scale
you may be learning.

Arpeggios with Alternate Picking (29-34)

In this section we’re playing arpeggios with Alternate picking

Pentatonic with Alternate Picking (35-41)

Here we’re looking at pentatonics and picking

Phrases with picking (42-53)

In this section we’re looking at a few phrases that you can add to
your vocabulary

Hybrid Picking (54-58)

In Hybrid Picking we’re going to use a combination of pick and

fingers. As opposed to using the downstroke-upstroke we’re
going to use down stroke-fingerpick. The finger we use for the
fingerpick can be index, middle or ring finger or indeed a
combination of all. This technique is used a lot in country music.
This is also a great way to play wide-interval licks, which is why
rock players use this technique. Another reason for using this
technique is that the fingered notes tend to “pop-out” over the
picked notes and this gives an unusual sound.

Alternate Picking Phrases (59-72)

Just a few more phrases for you to use in your improvisations.

4 notes per string, groups of five, chromatic phrases, string
skipping and some ideas with the harmonic and melodic minor
scales.
ex. 1

Example 1 is a sequence in G Minor played on one string.

We can play this ascending.

Or develop the idea on two strings,

Or take it over the entire neck.

 ex. 2

Here is a basic idea to start using all four fingers of the left hand.
Using all fingers of the left hand can help us to become more agile, precise and
independent.
This technique also allows you to visualise scales 3 notes per string

G Mayor Sequence (played four fingers per string).

We can use 4 notes per string fingerings for any scale or mode
Even pentatonics can be played in this way, but be prepared for some mayor stretching.

E Minor Pentatonic (4 fingers per string).

ex. 3

Here we have a D Major scale using the 4 notes per string concept.
This sequence is a great way to start to get used to playing those groups of seven.
Because of the way we are fingering the scale it seems very natural, for this reason it
might be a good idea to practice other rhythmic groups such as triplets of groups of six.

Lets play the same idea with sixteenth notes.

And triplets.
ex. 4

Example 4 is a very typical sequence that uses the A harmonic Scale.

This may seem a bit dated for all you folk looking for something new-sounding

But things really start to heat up using the Pentatonic.

And why not a good old arpeggio? In this case A Minor 7.

ex. 5

This exercise is basically the same as the one we saw before (ex. 4), but this time it’s
based on two scales E Minor and E Harmonic Minor and this time were going both up
and down the scales.

As before we can change a few things and come-up with something different

For example, how about E Minor Pentatonic.

ex. 6

In ex 6 we’re going to use seisillos with the A Harmonic Minor

(bars 1 and 2), and the E Harmonic Minor (bars 3 and 4).
This type of sequence really gets your hands synchronised and also develops
right hand speed and precision.

Right, let’s burn this idea up, over all six strings.
ex. 7

El ex. 7 were using a 2 string descending sequence in F Major.

Don’t forget to practice the ascending version too.

We’ve played this sequence on the 3rd and 4th strings but it’s a good idea to use all
available string groups.
Strings 1st and 2nd, 2nd and 3rd, 3rdand 4th, 4th and 5th, 5th and 6th.

One of the aims of this exercise is to improve freedom of movement and to gain
fluidity on all of the 2 string groups.
I’ve given you a few more 2 string ideas below-but just a few words of advice before.
All of these examples will not only help to improve just our alternate picking technique
but also our legato techniques as well. We can also play these exercises using a
combination of both picking and legato.
ex. 8

Try this one on for size! This time in D Major.

Don’t forget to practice the ascending version as well.
ex. 9

Another sequence in D Major.

Let’s take a look at the ascending version.

ex. 10

Our next example is based on quite an unusual sequence,

this time in the key of B Minor.
ex. 11
Exercise 11 is another diatonic sequence, but this time in A Major.

Now let’s take that same sequence and use it with the

A Major Pentatonic and see how it’s sounds.

Or how about the F# Minor Pentatonic with the “blue”note (b5) .

Or even an F # min7 add9 arpeggio .

ex. 12

How about this sequence in G Major ?

And it’s relative minor E Minor Pentatonic .

ex. 13

In example 13 we’ve got a sequence in G Major on the 4 th and 3rd strings

Still on the same string set, this time using the G Minor Pentatonic.

If at any time you find that these 2 string sequences are becoming too easy for
you, try using the same methods with different scales like the Melodic or Harmonic
Minor scales.
ex. 14

B Minor sequence.

Example 14 combines two 3 note per string patterns, we’re going up using one pattern
and coming down using the adjacent.

If you’re not quite top of the class with you’re 3 note per string scales, the following
idea will help loads – we’re just going up and down the same pattern.

Let’s try a B Natural Minor Scale.

ex. 15

Example 15 is in A Minor, but this time we’re not moving around the neck
horizontally (2 notes per string), or vertically (in one fixed position).

In this example we’re moving horizontally up the neck.

ex. 16

Here in exercise 16 we using the D Major scale with a seisillos sequence.

Lets use the same sequence – but change the scale.

D Minor Pentatonic.
ex. 17

Example 17 uses the A Minor Blues Scale – played 3 notes per string.

We go up using one pattern.

And come down using another.

Minor Blues Scale Shapes (3 notes per string)
(A Minor pentatonic blues )
ex. 18

Exercise 18. Let’s check out E Minor Blues.

The blue” (b5) has been coloured blue on the fret board diagram.
ex. 19a

Ex.19 we’re going up the neck diagonally and coming down horizontally on
only one string.
This time it’s E Minor.
Here we’re playing a 2-string pattern repeated in octaves.

This above approach can be applied to any scale.

Check out this example in E Major.

Now let’s play the same pattern a whole tone lower. How do we do this?

We just move the whole pattern down two frets to make D Major.
ex. 19b

Ex 19b, is very similar to 19a, only this time we’re going down the scale.
ex. 20

In example 20 I’ve taken the C# Minor scale and played it using thirds

We can use this idea with other 3 note per string scales.

Check out A Phrygian.

ex. 21

Our next example is sequence of a four note group,

B Minor Pentatonic.
ex. 22

Example 22 uses the same idea, but this time we’ve changed key... E Minor.

Now let’s take a closer look at this sequence.

ex. 23

In the following example we’re playing groups of five in E Mioxlydian.

Again, try using this sequence with other 3 note per string patterns.

E Mixolydian

* Heres another fingering of E Mixolydian.

ex. 24

Here we’re using a six-note sequence that repeats in octaves.

This one’s in A Major.

By simply changing the intervals we can play other scales.

Below, an example in A Minor.

And the exotic sounding A Harmonic Minor.

ex. 25
In example 25 we’re using de seisillos in the key of C Major.

Here we’re using a method we saw earlier, going up on one pattern.

And descending with another.

ex. 26
The idea in example 26 is very similar to that seen in no25, only here I’ve changed the
sequence and this time we’re in B minor

(In this example I’m also combining two 3 note per string patterns).

A great way to practice this technique is to link various patterns.

ex. 27

In example 27 we’re using two identical patterns that repeat in octaves.

E Minor

Here’s the ascending pattern.

and here’s the descending.

These examples use the E Natural Minor scale, or E Aeolian, but I can’t stress
enough the importance transposing these ideas to other keys.

To do this we have to be aware of the relevant scale intervals.

-For example:

Dorian (ascending) Dorian (descending)

Melodic Minor (ascending) Melodic Minor (descending)

ex. 28

Here’s another example of combining 3 note per string patterns.

This one’s also a great picking workout.

This one’s in D Major .

ex. 29

To kick things off, the previous examples made use of open strings
to play simple triads.

We’ve used two basic patterns:

MAJOR

MINOR
ex. 30a

Example 30a shows us a diminished arpeggio using Alternate Picking.

This ones in A# Diminished

This above pattern can be broken down to this much smaller pattern..

We can take this same idea to play any other 4-note arpeggios.
Check out the following example.
ex. 30b

Example 30b is basically the same as 30a

only this time we’re using F Major7.

As before, if we change the intervals we change the arpeggio.

F7 (Dominant)
Fmin7

Fmin7 b5

By changing the position of the root note we can come up with new patterns.

Major Seven arpeggios played on 2 strings

By changing the intervals we can make other arpeggios Major7, 7, min7, etc.
As before, this is a simple idea that gives us virtually unlimited possibities.
 ex. 31

This example is basically a B Minor 7th.

All the notes in this arpeggio can be seen a diatonic fifths.

It’s for this reason that both 2 nd and the 4 th intervals show-up.
Let’s see all the intervals : 1,2,b3,4,5,b7
Looking at this way, our simple B Minor 7th has become a
Hexatonic Scale (scale with 6 notes).

Scales that do not contain the sixth degree can be seen as either Dorian or Aeolian.
ex. 32

Example 32 combines three triad arpeggios.

The arpeggios are D minor, C major and B major.
Now let’s break this baby down.

Here’s the major pattern:

C maj

And the minor:

C min

And the diminished:

C minor b5

I’ve given you these example in C, but it’s a good idea to work them in all keys.

I tend to practice these ideas in the following way....

C, E, G#, B, Eb, G, Bb, D, F#, A, C# and F

Or how about practicing them in 4th’s....

C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D and G

Both way’s are great... the important thing is to be able to play any phrase,
sequence, arpeggio or scale that you learn in every way possible,
ex. 33a

Ex. 33a is an A minor Arpeggio.

Don’t forget to play the descending version.

ex. 33b

Ex 33b, is the same A minor arpeggio, only this time one octave higher.

The same idea, different arpeggio!!!

A major

And the diminished?.

Amen b5
ex. 34

This example combines two four-note-arpeggios.

The two arpeggios in question are B min7 and F# min7 .
Harmonically speaking, the phrase can be seen in two ways.
As two separate arpeggios, or as a B min7 with an added 9 th and 11th.

The general idea is to take any 4-note arpeggio and add to it another arpeggio
built on the fifth degree of the first arpeggio. By doing this we are in fact
adding to it the 9 th and 11th.
ex. 35

Ex 35. Here I’ve taken groups of three notes

G Minor Pentatonic

Practice this example with the remaining pentatonic positions:

ex. 36a

Here’s the most common scale shape played in groups of five.

B minor Pentatonic .

These groups of five provide us with a great way to practice the pentatonic.

B Minor Pentatonic
ex. 36b

Ex 36b uses the same position as before but I’ve added the b5.

Try playing the Minor Blues scale in groups of three.

Let’s not forget the other positions ...

Pentatonic Minor Blues. ( 1, b3, 4, b5, 5, b7 )
ex. 37

Here we’re using a string skipping with our A Minor scale.

Again, try this with the other positions or indeed other scales....

C Major Pentatonic.
ex. 38

In this example we’re skipping just a little bit further.

B Minor Pentatonic .

By using string skipping we can create some great -sounding licks.

This technique is also known as cross picking.

Use these examples to create your own pentatonic – intervallic licks.

ex. 39

This phrase works well over a dominate-type cord.

In this example we’re using B7.
Example 39 is a Dominant Pentatonic 1, 3, 4, 5, b7,
To which we have added the always-famous blue note ( b5 ).

I’ve then formed a pattern that I have repeated in octaves.

The dominant pentatonic is very similar to the minor pentatonic.

The only difference is in the 3 rd degree.
The minor pentatonic has a minor third.
The dominant pentatonic has a major third.

Minor Pentatonic Dominant Pentatonic

Minor Pentatonic + Blue note (b5) Dominant Pentatonic + Blue note (b5)
ex. 40

This phrase works well over A7 and we’re combining both

the A Minor Blues( 1, b3, 4, b5, 5, b7 ),
and A Major ( 1, 2, 3, 5, 6 ).

You may have noticed that, in the above diagram, we also have the b2 and the 7 th.
But in this case they are just being used as passing tones.

Here’s what it looks like without those chromatic notes

Try using this pattern to come-up with your own licks.

 ex. 41a

In 41a uses the E Minor pentatonic. It’s a 2-string pattern that repeats in octaves.
ex. 41b

Ex 41b- the same kind of idea.

Quite simply it’s a small pentatonic pattern that keeps repeating itself.

E minor Pentatonic

Remember those 2 note-per-string patterns? Now, the same thinking but just pentatonic.

E Minor Pentatonic on 2 strings

Now let’s take time out to look at all these pentatonic positions.

Minor Pentatonic
And while we’re on the subject, let’s look at Major Pentatonics as well....

E Major Pentatonic on two strings

Major Pentatonics

As you probably already know the Minor and the Major are really the same, the only
thing we have to be aware of is the root note location.
ex. 42

Example 42 is a segment taken from The Flight of the Bumblebee- from which
we get quite an interesting positioning.

Chromatic Scale

In the above example I’ve used A as the root note

Another fingering
ex. 43

Example 43 is taken from Czardas by Vittorio Monti- a great alternate picking

exercise.
ex. 44

Example takes-on a more “classical” theme.

ex. 45

Example 45 uses all the diatonic arpeggios of E Major.

(E maj, D# min b5, C# min, B maj, A maj, G# maj, F# maj, E maj)

E Major
ex. 46

Ex 46 uses open strings and small arpeggios in a lick in A Harmonic Minor.

ex. 47

This phrase combines the D Minor and D Harmonic Minor scales.

Bar 1: D Minor ( 1, 2, b3, 4, 5, b6, b7 ).
Bar 2:D Harmonic Minor ( 1, 2, b3, 4, 5, b6, 7 ).
Bar 3:D Minor.
Bar 4:D Harmonic Minor.

D minor D Harmonic Minor (1, 2, b3, 4, 5, b6, b7, 7 )

ex. 48

This phrase in E Minor uses “ Tremolo Picking ” .

This means that we us alternate picking to play the same note various times.
 ex. 49

Now we’re combining alternate picking with tremolo picking.

Db major

The b7 in this example, as before, is just being used as a passing tone.

 ex. 50

Exercise 50 uses A Minor and sees the introduction of a Pedal Note.

And the Major version.

And the Mixolydian.

ex. 51

Example 51 continues along the same lines only this time we repeat 2 notes.

In the key of C Minor.

ex. 52

Example 52 is a little more involved than the previous example but still uses the
same basic technique.
 ex. 53

In this example we’re taking things just a little bit further. This time we have a
three-note-pedal.
In bars 1 and 2 we’re using B Minor,
and in bars 3 and 4 A Minor.

Note that we’re using the same pattern, we just move it down 2 frets.

B Minor

A Minor
ex. 54

The following example 54 could be played using alternate picking,

But it may prove easier if we use Hybrid Picking .
Hybrid Picking involves substituting the upstroke, normally played with
with the pick, with one of the fingers of the picking hand....

This technique is especially useful when we encounter large string-skips.

Let’s take a look at a few more examples and some exercises to get you
prepared if you’re new to this technique.
A good starting point is to play a scale in 6ths.

A Major (played in 6ths).

Same idea. Different fingering.

A Major

A Major

The truth of the matter is that hybrid picking can be used with any scale or lick that
involves wide intervals. But there are no hard and fast rules, if you would rather
use alternate picking then go for it.
ex. 55a

Ex. 55a uses the C# Minor Pentatonic scale with Hybrid Picking.

C# Minor Pentatonic.
ex. 55b

This phrase is very similar to the one we saw before, only this time we’re using all the
strings in this position, whilst in the key of C# Minor.
C# Minor Pentatonic

As always, don’t forget the ascending version..

And other pentatonic fingerings.

ex. 56

Another example of Hybrid Picking.

This time we’re using B Minor.

B Minor Pentatonic

Just a quick reminder- don’t forget

to play these ideas using regular alternate picking.
ex. 57a

In this example I’m just using the root and the fifth.
ex. 57b

Same idea as before – just five frets higher.

ex. 58

In this last example things are getting busy. I’m now using two fingers of the
picking hand.
Middle finger (m), and ring finger (a).

For this example I’m using the E Minor Pentatonic (I’ve left out the b3)
ex. 59

In the above example I’m using F# Minor 4 notes-per-string.

To play these ideas the index finger must play two notes ( see tab for any doubts).
I’m also playing the example in a way we’ve seen before, I go up one shape and
come down another.

Here’s how I go up.

F# Minor

And how I come down.

 ex. 60

Example 60 is a descending sequence in A Major.

Here I’m using 4 notes and then 2 notes on the adjacent string.
The same principle applies to this example as to the previous. The index finger
Is responsible for “moving” the left-hand around the neck.

A Major

Don’t forget the ascending version . Notice that the little finger
is now the one that’s doing all the work. You can try playing it as before I just find it’s
easier to descend the scale in this fashion rather than playing the “reversed” version
of the ascending version.

If we analyse this example we fins that it’s just a 2-string sequence repeated in octaves.

A Major
ex. 61

Example 61is a triplet lick in B Minor, which finishes with a bend.

B Minor

If we use a 3 note-per string approach we find that one note repeats (5).

To avoid this we can play the following pattern.

B Minor

The only problem is that we lose the familiarity of 3 notes-per-string.

Can we get the best of both worlds? Well yes we can. By adding a chromatic note on the
B string we’ve got 3 notes-per-string and no repeating notes.

B Minor

This also gives the phrase another “flavour”.

Want yet more notes?

B Minor

If you like this idea, why not experiment adding notes to the 3-note-per-string
Scale shapes we looked at earlier
For example:

B Mixolydian (1 chromatic note)

 ex. 62

Example 62 is in E Major.

E Ionian

The same phrase could be seen as B Mixolydian.

B Mixolydian

This is due to the fact E Ionian and B Mixolydian both come from the
harmonized E Major scale and therefore contain the same notes.
This means that any of the previous phrases and indeed those that follow work not only
With the mode they are written but also in their relative modes.
ex. 63

Time for some more String Skipping, this time on strings 1 and 3.
Lets take a look at the fret board diagram
C Major

try using this idea on other 2 string groups, for example 2nd and 4th.

C Major

How about mixing things up ?

C Major
ex. 64
Example 64 is another String Skipping lick but this time we’re staying in one
position and not moving up the neck as in the previous example (63).

This time we’re using A Harnmonic Minor.

A Harmonic Minor.

Let’s change Keys!!!!!!!!!!!!!!!

C Major.
ex. 65

In example 65 I’ve combined B Minor (bars 1 and2) and B Harmonic Minor (in bar 3).

B Minor + B Harmonic Minor

The B Harmonic Minor sequence is another 2-string pattern.

B Harmonic Minor
 ex. 66

Example 66 uses the E Harmonic Minor scale.

The use of this scale is very common in the playing of Ygnie Malmsteen,
Vinnie Moore etc.
But if we change the harmonic context we can get something quite entirely
different.( Same number of notes per string, same picking etc),

For Example:
If we take the same idea and sequence it in G Major
And add a chromatic note, it now sounds rather different..

G Major + chromatic note (b2)

The ascending version..

ex. 67

This is another good one for the old picking hand.

I’m using A Minor for the first eight bars and
A Harmonic Minor for the last three.
Let’s try this one on for size!!!!!!! A Harmonic Minor.
 ex. 68

Example 68 uses the E Phrygian Major .

The Phrygian Major is built from the 5th scale step of the Harmonic Minor.
Therefore the E Phrygian Major comes from A Harmonic Minor .

In this example I’m using Palm Muting. This is where you lightly rest the picking hand
on the bridge of the guitar. This alone gives us another sound to “play” with.

Below is the fret board diagram :

E Phrygian Major

If we took A Harmonic Minor as the root we would get the following.

 Breaking this figure down ,we see that’s it’s just another 2 string pattern
repeated in 3 octaves
.
A Harmonic Minor

Lets change some things around and really milk this idea using the
same sequence....

For Example....

A Major

A Dorian b2

A Mixolydian b6
ex. 69

Exercise 69 uses the F# Phrygian Major.

Which comes from the harmonized B Harmonic Minor scale.

F# Phrygian Major

As always, don’t be afraid to play these ideas in different keys .

ex. 70

Exercise 70 is another 2-string sequence, this time

in D Minor .

Here’s the same idea just on one string:

A Major

E Minor Pentatonic
ex. 71

Here we’ve got the A Harmonic Minor a little bit further up the neck.
A Harmonic Minor.

New intervals = New Scales

A Major
ex. 72

Example 72 is a sequence using E Super Locrian,

the SuperLocrian is built from the seventh degree of the Melodic Minor scale.

E Super Locrian (1, b2, b3, b4, b5, b6, b7 )

*the 3rd interval shown on the fret board should be read as a b4.
Legato
In this second section we’re looking at ideas and phrases using
the Legato technique.

With Legato our left hand is really going to workout!! The right
hand is going to be more relaxed.

Legato consists of playing the notes with the fingers of the left
hand without using the pick as much as before. This gives us a
much more fluid sound as we don’t have the pick “attacking” the
string as we did in the previous section. It’s very important that
we use a metronome with all these examples.

In order to get a good control of timing and overall sound you’re

really going to have to build-up strength in your left hand. Play all
examples with a “clean” sound. As with all other examples in the
book we can also use a mildly distorted sound.

In all examples the left hand fingering is included as are the pick
strokes. I’m using standard fingering throughout.

Really checkout the videos to see how I’m playing the examples.

Remember to keep your hand as relaxed as possible, although at

the beginning this will be difficult because your fingers will not
yet have the strength necessary. But believe me, with time and
practice you will get a good Legato.

This section, from 73 to 119 is arranged in the following way:

ü Legato with scales (73-97)

ü Legato with Pentatonics (98-109)
ü Legato with arpeggios (110-114)
ü Stretching (115-119)
Legato with scales (73-97)

For starter, we’re going to play a few scales and modes using this
technique.

The examples start easy and get harder!! First, ideas on one
string, then two strings and eventually all strings. We’ll also take
a look at combining legato with alternate picking, string skipping
and even with open strings!!

We’ll also take a look at different rhythmical groups, such as

groups of seven (90), and eleven (91). Also, combinations of
groups of seven (92) and with slides (93).

Legato with Pentantonics (98-109)

Examples 98-109 we’re just going to use sequences with the

pentatonic scale. Minor and major scales are discussed along with
the blues scale, which will help you to visualise the pentatonic all
over the neck. We’ll also take a look at the more unusual
pentatonics, such as the Japanese Kumoi or the Japanese Hiro
Joshi

Legato with arpeggios (110-114)

Here we’re going to look at four note arpeggios played on two

string groups and also on all six strings. Arpeggios in groups of
five (112-113) and triad arpeggios using string skipping over
three and four strings and various sequences that you can practice
over various arpeggio shapes (114)

Stretching

In the last part of this section we’re going to work on your

stretching. With a bit of practice we’re going to “open-out” our
left hand in order to achieve bigger stretches on the fret board.
Due to the fact that we are going to be using “different”
fingerings, we’re going to be able to visualise the neck in a
different way. Don’t jump straight in to these exercises-you have
to have warmed-up before as these examples are very demanding.
For this reason, when you’ve warmed-up, don’t stretch for too
long. 15 minutes is ideal (for beginners 10 minutes). This way we
are not going to hurt our hands. If for whatever reason you begin
to stretch and have pain-STOP. Don’t over-do things!!

All the exercises can be moved down the neck in order to get even
bigger stretches once you are comfortable in the initial position. If
you have problems playing the example as shown then just move-
up to an easier position. What we’re trying to do is open the
fingers- without hurting ourselves!! VERY, VERY
IMPORTANT.
ex. 73

In our first Legato example we’re using E Minor.

E Minor
ex. 74

In our next example we’re combining legato and Alternate Picking.

Here we’re using

E Minor

Don’t forget to play the descending versions of these licks.

ex. 75a

Example 75a is another idea that combines picking and legato,

this time in E Major.
ex. 75b
Example 75b uses the same sequence as 75a, only this time we’re only
picking when we change string. This gives us an even smoother-sounding lick.

Lets try this one out in de D Major.

And what about the same king of thing with a pentatonic????

B Minor Pentatonic

And what about a 3-notes per string?????

B Minor

.... and two positions of a pentatonic ....

B Minor Pentatonic
ex. 76

In example 76 we’ve ventured onto the 3 rd string.

And we’re staying in B Minor.

Now lets take a look at this one.

B Minor
ex. 77
Example77 is in A Minor and we’re covering all six strings.
A Minor

All I’ve done here is something that we’ve seen before, I’ve combined
two 3 note per string patterns.

I use this one to ascend.

And another to descend.

ex. 78

The above exercise is another lick in B Minor

We’re going for some really big intervals on this one, so take things
Slowly. Start further up the neck if you find this position too much.

B Minor

Notice that in this example we have no 6 th degree.

This means it can be harmonically seen as either Dorian or Aeolian.
ex. 79

In example 79 we’re staying in B Minor and repeating the legato picking theme.
We’re also combining 2 three note per string scale shapes.

B Minor

Let’s try the same idea with a different scale.

G Lydian (1, 2, 3, #4, 5, 6, 7) The #4 is written as b5 on the fret board.

As always, there’s a lot of mileage in just the simplest of ideas.

ex. 80

Here’s a cool legato lick in E Minor that covers practically the

whole fret board.
Notice that in order to achieve a smoother sound I’m only using the
Pick when really necessary.
ex. 81

Here’s another idea in E Minor. This time I’m using string skips.

Here’s the diagram of the above sequence.

E Minor

Notice the repeating 2 string pattern..

ex. 82

Ex 86 Uses a 4 string sequence in G Major

And the ascending version ....

What about if we change it about a bit ???????

 ex. 83

What about this one in C Major ?

We can use this idea to move both vertically and horizontally along the fret board

C Major (horizontally – 2 notes per string)

C Major (3 notes per string)

ex. 84

Example 84 is another idea, this time in A Harmonic Minor, that combines

Picking and legato.
A Harmonic Minor

By now you should have had enough practice to be able to come up with
your own phrases.
This particular technique is a great way to get “new” sounds from the guitar
because the phrases combine two techniques and this, in a way, confuses
the listener.
ex. 85

Here I’m playing a Open String lick which uses open strings.
E Minor

Lets take a look a the descending version.

Try using open strings with other licks and phrases.
Try C Major, G Major or D Major or any of their relative modes.

D Major (The same idea and sequence – this time in D Major)

(((((Try adding a few taps and the twelve fret))))

ex. 86

Here I’m playing a pentatonic pattern which repeats in octaves.

E Minor Pentatonic

Refer to Example 41 for all pentatonic fingerings.

ex. 87

Here’s another legato sequence in A Harmonic Minor.

Don’t forget the ascending version.

And with other scales:

A Harmonic Minor

A Dorian
ex. 88

For this one we’re back to picking and legato.

D Minor.

Lets check out the same idea with a different scale.

C Phrygian ( 1, b2, b3, 4, 5, b6, b7 )

ex. 89

Example 89 we’re descending in a legato fashion.

B Minor .
ex. 90

Yet more legato and picking, this time in C Major.

ex. 91

Example 91 is another legato idea but this time we’re using groups of 11 notes.
Basically I’ve taken a group of 11 notes and taken it through 3 octaves.
E Minor

Lets burn it up!!!!!!!!

ex. 92

In this example we’re combining 7’s and 6’s.

E Minor

Going down.
ex. 93

Example 93 combines legato with finger displacements of slides.

By sliding between positions we are able to create longer phrases, whilst

maintaining the legato feel.
Let is the fret board diagram for exercise 93. this time we’re in
A Major

This is basically a 9-note pattern that repeats in octaves.

A major

Let’s take the above example and try the Harmonic Minor version.

A Harmonic Minor

The complete sequence looks like this.

ex. 94

Ex 94 And we’re back in E Minor, take careful notice of the

pick-strokes when changing string.

If you fancy, you can use your middle-

finger instead of the pick on the up-strokes.
ex. 95

Ex 95 Some more E Minor legato.

In this example we’re only picking once per string.

E Minor

Now let’s play some legato without any picking at all.

ex. 96

In the above example we’re back to A Major.

This time I’m using 6’s and fusas and only using the pick for the first note.

A Major

Try the above version seisillos y fusas de forma ascending.

ex. 97

This sequence C# Minor combines semicrochets and 5’s, all

within a 3 note per string pattern.
C# Minor

Let’s check out the descending version.

ex. 98

Example 98 is a 3 note per string pentatonic pattern.

We can play this sequence using any 3 note per string pentatonic pattern.

The same technique can be applied to other 3 note per string patterns.

C Major
ex. 99

Ex 99 uses legato with a more traditional pentatonic shape.

B Minor Pentatonic

The same idea but with another pentatonic position.

ex. 100

This lick in A Minor Pentatonic combines two traditional pentatonic shapes

That are linked by a slide.
A Minor Pentatonic

Try the same idea with triplets.

We could also add rests or play it with a swing feeling.

ex. 101

In this example we’re using string skipping and legato with a 3note per string
Pentatonic.
E Minor Pentatonic
ex. 102

In Ex.102 more legato.

G Minor Pentatonic.
ex. 103
In this example I’ve introduced the “blue” note.
E Minor Blues (1, b3, 4, b5, 5, b7)

This exercise can be divided into 2 separate parts:

The first, a sequence of 5’s on adjacent strings.

And the second is basically the same idea just with string skipping.

This is basically a 3 note per string sequence that repeats in octaves

E Minor Pentatonic Blues

Now let’s move the whole scale up the neck.

B Minor Pentatonic Blues (on 2 strings)

Let’s now take a look at the individual patterns.

Minor Blues Positions 3 Notes per String
ex. 104

Here’s another example using E Major Pentatonic (1, 2, 3, 5, 6).

Let’s see what this one looks like in the flesh..

ex. 105

In the above example I’ve combined both Major and Minor Pentatonics.

B Minor Pentatonic + B Major Pentatonic

This type of phrase works well over B7.

We can add yet another note to this scale, the major third. This can be seen as
the Dorian scale with the b5.
Let’s check this one out.

B Dorian with b5

How about another fingering?

Simply by changing the minor 3rd to a major 3rd, we change the lick from
Dorian to Mixolydian.

B Mixolydian with the b5

Another fingering of the same scale.

ex. 106

Here’s an idea in F# Minor.

What I’ve done here is combined 3 pentatonic patterns.

B Minor (blue), F# Minor (green) y C# Minor (red).

Combining pentatonic is a great way to come up with new ideas and it’s
Also helps use to sound less predictable.
ex. 107

Example 107 uses the D Minor Pentatonic scale.

Here I’m using symmetrical 3 note per string patterns.

RE Minor Pentatonic

You may have realised that this pattern is made up of two smaller pentatonic
Shapes that are played together to make up a six-note pattern that repeats
in octaves.

On the next page we’ll take a look at these patterns, so that you can
come up with your own ideas 107.
Major Pentatonic
Symmetrical patterns
Minor Pentatonics
ex. 108

This example is based on the scale know as the Japanese Kumoi Pentatonic.

The Japanese Kumoi is made up of the following intervals 1, b2, 4, 5, b6 .

Lets’ take a look at the fretboard diagram

B Japanese Kumoi Pentatonic ; 1, b2, 4, 5, b6

B Japanese Kumoi Pentatonic (over all the fretboard)

From the above diagram we can come up with many other smaller patterns,
for example 2 notes per string, three notes per string and even symetrical patterns.
ex. 109

This phrase is also constructed using a Japanese pentatonic but in this case we’re using
the Japanese Hiro Joshi.

The Hiro Joshi Pentatonic is a mode of the pentatonic we looked at before.

Here are the intervals that make up theHiro Joshi; 1, 2, b3, 5, b6
The scale used in exercise 109 is therefore the Hiro Joshi Pentatonic

D Hiro Joshi Pentatonic ; 1, 2, b3, 5, b6

D Hiro Joshi Pentatonic; 1, 2, b3, 5, b6 (all over the neck)

Let’s take the same sequence that we used in exercise 109 and apply it
to other Japanese pentatoincs.

A Kokin Joshi Pentatonic; 1, b3, 4, 5, b7

(The Kokin Joshi is really the well-known Minor Pentatonic)

So what would happen if we usedthe same sequence we saw in 109 with

a Chinese Pentatonic?

C Chinese Pentatonic; 1, 2, 3, 5, 6

(Low and behold!!! It’s the Major Pentatonic)

 ex. 110

In the above example we’re playing diatonic arpeggios in C Major.

From this example we can create various four note Arpeggios.

 Patterns four note arpeggios
Maj 7 (Major Seven) 7 (Dominate Seven)

Min 7 (Minor Seven) Min 7 b5 (minor seven flat five)

We can take anyone of these shapes and repeat them in octaves.

C maj7

And to get new arpeggios.... just change the intervals:

Maj7 (1, 3, 5, 7) Major Seven
7 (1, 3, 5, b7) Dominate Seven
Min7 (1, b3, 5, b7) Minor Seven
Min7 b5 (1, b3, b5, b7) Minor Seven flat five
Min Maj7 (1, b3, 5, 7) Minor with a major seven
Maj7 #5 (1, 3, #5, 7) Major seven sharp five
7º (1, b3, b5, bb7) diminished seven
7 #5 (1, 3, #5, b7) diminished seven sharp five
ex. 111a

Here we’re got a G Major arpeggio played using legato.

G Major Arpeggio.

ex. 111b

Here’s the same idea only this time in A Minor

A minor Arpeggio.
ex. 111c

Now, the same thing this time with legato.

D maj7 (Arpeggio)
ex. 112

In example 112 we’re playing an A#7º (A# diminished seventh).

A# 7º (Arpeggio) Intervals; 1, b3, b5, bb7.

*In the above diagram, the 6th should be seen as a bb7 (diminished seventh).
ex. 113

Exercise 113 is almost identical to 112, but with one alteration.

This time we’re playing G# Diminished, which we’re playing in a different direction.

G#7º (Arpeggio) Intervals; 1, b3, b5, bb7

*As before, the 6th should be seen as a bb7 (diminished seventh)

ex. 114

In 114 we’re combining string skipping, legato and picking.

On the next page we’ll take a look at some more string-skipping patterns.
 Arpeggios with String Skipping
(3 string patterns)

Patterns: MAJOR; 1, 3, 5

Patterns: MINOR; 1, b3, 5

Patterns: DIMINISHED; 1, b3, b5

Patterns: AUGMENTED; 1, 3, #5

*The b6 (flat sixth) can be seen as a #5 (sharpened fifth).

Patterns SUS 2; 1, 2, 5

Patterns SUS 4; 1, 4, 5
 Arpeggios with String Skipping
(4 string patterns)

MAJOR; 1, 3, 5 MINOR; 1, b3, 5

DIMINISHED; 1, b3, b5 AUGMENTED; 1, 3, #5

SUS 2; 1, 2, 5 SUS 4; 1, 4, 5

Right, lets take a look at a few sequences for some of these patterns.
For the examples inthe videos I’m using C Major arpeggios but, as always these ideas
must be taken to other positions and keys.
 ex. 115

In this first stretching exercise we’re using a 3 note per string pattern in F Minor
Pentatonic. This is played using legato.
F Minor Pentatonic.

If you find this example a little difficult to play in this position, move it up the
fret board to a more comfortable position. When you’re hand becomes accustomed
To these wider stretches you can then start to move down the fret board.
ex. 116

Here I’ve taken a 3 note symmetrical pattern and created diminished arpeggios on one
string.

As with the previous example if you find this position too hard-move it up the neck.

We can use the same idea to play other types of arpeggio.

D minor
 ex. 117

In this example we’re playing A Dorian.

These four-finger ideas are great for developing general hand strength.
But remember to take it easy-if it’s starting to hurt-give it a rest.
Ex. 118

Example 118 is really going to open-out that fretting hand.

Using the same basic idea that we saw in the previous example lets work on different
finger groupings.

Fingers: 1 3 4

We’re really making it work between the 1st and 3rd fingers!!!!!!!!

Fingers: 1 2 4

And how about this stretch between fingers 2 and 4.

Fingers: 1 2 3

Here we’re working the 1st and 2nd fingers.

Fingers: 1 3 4

And finally, stretching between the 3rd and 4th fingers.

Don’t forget to use different sequences with these fingerings.

ex. 119

In this example we’re using stretches to play arpeggios.

The example is in B Minor.

Let’s take a look at some single string arpeggio shapes.

Arpeggios & Stretching
Triad patterns (examples in D)

C# Major (1, 3, 5)

C# Minor (1, b3, 5)

C# Diminished (1, b3, b5)

C# augmented (1, 3, #5)

* b6 = #5
Arpeggios & Stretching (Part 2)
Seventh arpeggios

Dmaj7 (1, 3, 5, 7)

D7 (1, 3, 5, b7)
 Dmin7 (1, b3, 5, b7)

Dmin7 b5 (1, b3, b5, b7)

D min Maj7 (1, b3, 5, 7 )

Dmaj7 #5 (1, 3, #5, 7)

* b6 = #5

* b6 = #5
D7º (1, b3, b5, bb7)

* 6 = bb7

* 6 = bb7

D7 #5 (1, 3, #5, b7)

* b6 = #5
Sweep Picking
In this third section we’re going to look at some examples of sweep
picking. This technique is mainly used to play arpeggios but as we
will see it can also be used to play all types of scales.

The principle behind this technique is to minimise movement of the

picking hand. In alternate picking we saw how the plectrum
maintained an up / down movement. With sweep picking we’re going
to us the same movement from string to string down / down etc.

An important factor with this technique is the synchronisation of both

hands and we must therefore start all examples at a sensible speed,
with a metronome and gradually increase the speed, as we get better.
The secret here is cleanness and synchronisation. The notes must ring
clean and not sound “mixed” with the other notes. The picking hand
must maintain a constant downward/upward motion and not attack
each separate string. You’ve really got to “Sweep” the strings.

Check-out the videos as they will give you a better idea of how to
practice each example. Try to keep your hands relaxed and don’t
increase the metronome until you’re sweeping cleanly!!!!

I once had the opportunity to ask one of the masters of this technique
how he had achieved such clean, crisp sweeps to which he replied “ I
never increase the metronome speed until I am sure that I can play it
with my eyes closed”. Great advice mate!!!

This section is divided into the following sections:

ü Sweep Picking on 2 strings (120-122)

ü Sweep Picking on 3 strings (123-127)
ü Sweep Picking on 4 strings (128-132)
ü Sweep Picking on 5 strings (133-140)
ü Sweep Picking on 6 strings (141-150)
ü Economy Picking (151-155)
ü Ideas and phrases (156-178)
Sweep Picking on 2 strings

To start off we’re going to use two strings. The ideas cover major,
minor, diminished and augmented triads.

Sweep Picking on 3 strings

With examples 123-127 we’re using three strings and we’re

looking at four-note triads and their various inversions. We’ll also
take a look at ideas that will allow us to take arpeggios all- over
the neck but using different inversions.

Sweep Picking on 4 strings

With examples 128-132 we’re moving up a gear! With these

examples we’re going to look at how we can add tensions to our
arpeggios e.g. Add 9, add 11 and add 13. We’ll also look at
mixing sweeps with alternate picking and scales to form different
modes.

Sweep Picking on 5 strings

Here, with examples 133-140 we’re going to look at how to take

our four-note arpeggio all over the fret board and combine this
with ideas learnt in the previous chapter.

Sweep picking on 6 strings

With examples 141-150 we’re sweeping on all six strings.

Various examples are presented: arpeggios, modes, pentatonics,
combination of sweeps and alternate picking and sweeps with
string skipping.
Economy Picking

In examples 151-155 we’re going to look at how to mix alternate

picking and sweep picking “economy picking”. When playing one
string we use alternate picking but when we come to change
strings we going to use a series of “mini” sweeps. This can
happen in either direction depending on whether we’re moving to
the next string down or the next string up.

It’s important to be aware of the number of notes that we are

going to play on each string. With uneven numbers the pick will
move in the same direction (from string to string) while even
numbers will require a change of direction. Take note of example
151 where we have three notes on each string except when we
have to change direction (on the first and sixth strings) where we
have four notes. Arranging things in this way we are able to play
the last note of these strings and have the plectrum prepared for
the sweep.

Try to come up with your own examples and exercises. This is a

very interesting technique and is an interesting alternative to
alternate picking, although both should be learnt.

Ideas and Phrases

With examples 156-178 we’re going to look at various ideas

previously covered in this section: triad arpeggios, four note
triads, added 9th arpeggios, sweeping pentatonics, combination of
sweep and economy, sweep with alternate picking, sweep with
legato, with tapping and finger sweeps, etc.
ex. 120

In this example I’m playing triad arpeggios and a couple of possible inversions.
Tonic-root in the base.
Second Inversion-fifth in the base.

FUNDAMENTAL 2nd INVERSION

And what about the first inversion (3rd in the base).

1st INVERSION
Now, let’s change a few intervals and play the remaining triad arpeggios.
Major (1,3,5), minor (1,b3, 5), diminished (1,b3,5) and augmented (1,3,#5).

Starting off with the 1st Inversion.

MAJOR (1, 3, 5)

MINOR (1, b3, 5)

DIMINISHED (1, b3, b5)

AUGMENTED (1, 3, #5)

* b6 = #5
By using this method we can come up with triad arpeggios with the root note in the base
and also apply the same idea to form triad arpeggios with the fifth in the base
Now, let’s take a look at these inversions strung-together along the fret board,
major, minor, diminished and Augmented C.

C MAJOR (1, 3, 5)

C MINOR (1, b3, 5)

C_DIMINISHED (1, b3, b5)

C AUGMENTED (1, 3, #5)

* b6 = #5
ex. 121

Ex 121 is based around an F# 7º arpeggio that moves up the fret board using all
inversions.
The 6th should really be seen as a bb7.

You can use the same idea with cuartida arpeggios.

F# Minor Seven (1, b3, 5, b7)

Once you have the fingerings down, use them as you fancy.
The sequences that I’ve given you are just to help you learn them.
ex. 122
Exercise 122 is a short piece that shows us how to play arpeggios on 2 strings.

Of course, there are many ways of playing2 string arpeggios it’s just a case of
using you’re imagination.
ex. 123
In example 123 we’re playing diatonic seventh arpeggios in the key of C Major.

From this example we can obtain the following shapes.

C Maj 7 (1, 3, 5, 7)

C 7 (1, 3, 5, b7)

C min7 (1, b3, 5, b7 )

C min7 b5 (1, b3, b5, b7)

As always, move these ideas around the neck and play them in different keys.
Just move the whole shape up or down, place the root note (green) in the appropriate
place and you’re there.
Now we’re going to repeat the process we saw before, let’s take a look at those
Inversions.

C maj7 (root in the base)

C maj7 1 st Inversion (third in the base)

C maj7 2nd Inversion (fifth in the base)

C maj7 3rd inversion (seventh in the base)

The same process can be carried-out for the following types of arpeggio:

Maj7 (1, 3, 5, 7) Major Seven

7 (1, 3, 5, b7) Dominate Seven
Min7 (1, b3, 5, b7) Minor Seven
Min7 b5 (1, b3, b5, b7) Minor Seven flat five
Min Maj7 (1, b3, 5, 7) Minor with a major seventh
Maj7 #5 (1, 3, #5, 7) Major seven sharp five
7º (1, b3, b5, bb7) diminished seven
7 #5 (1, 3, #5, b7) dominate seven sharp five

Try using different sequences to practice these arpeggios.

For example:

To arpeggios this Cmaj7 shape, we can use any of these sequences.

Try combining these ideas and sequences and see what you come up with.

The possibities are endless.

ex. 124

In example 124 we’re playing a G minor arpeggio that we’re taking up the neck
through all it’s inversions.
G minor (1, b3, 5).

This one’s great to use if you need to remember those minor triads.
 ex. 125a

Ex 125 is descending arpeggio sequence using D#7º and all it’s inversions.
To change things a little I’m playing groups of five.

D#7º (1, b3, b5, bb7)

* 6 = bb7
ex. 125b

In 125b we’re using the same sequence as before, but this time in G major.

G major (1, 3, 5)

We can use this idea with any triad arpeggio.

For example A minor.

A minor (1, b3, 5)

ex. 126

I’m as using groups of five here, but this time with a different arpeggio.

This time I’m using D7º.

D7º (1, b3, b5, bb7)

We can take the idea seen in example 126 and use it to arpeggios any other triad arpeggio.

C major

C minor

And the various inversions:

C major

C_Major
ex. 127

Here in example 127 we’re using 2 and 3 string sweeps which at the same time shows
us how to extend arpeggios (adding tension).
In this case we’re adding the 6th and 13th.

D major add6 (1, 3, 5, 6)

B minor add b6 (1, b3, 5, b6)

 ex. 128

Example 128 introduces us to 4 string sweeps.

The arpeggios in question are C maj7 and B min7 b5.

C maj7

B min7 b5
Let’s take a look at the fret board diagrams or these arpeggios.

C maj7 (1, 3, 5, 7) Major Seven

C 7 (1, 3, 5, b7) Dominate Seven

C min7 (1, b3, 5, b7) Minor Seven

C min7 b5 (1, b3, b5, b7) Minor Seven flat five

C min Maj7 (1, b3, 5, 7) Minor with a major seven

C maj7 #5 (1, 3, #5, 7) Major seven sharp five

* b6 = #5

C 7º (1, b3, b5, bb7) Diminished Seven

* 6 = bb7

C 7 #5 (1, 3, #5, b7) Dominate seven sharp five

* b6 = #5
ex. 129

In this exercise we’ve got the same right hand movement as ex.128, only this time
we’re playing triad arpeggios.
ex. 130
Example 130 is an etude which give us the opportunity to study groups of seven which
Really give a sense of rhythmic displacement to our playing.
ex. 131

This one’s great for combining sweep picking with legato.

It’s an E# 7º arpeggio that I’m moving around the neck without changing the fingering.

E# 7º (1, b3, b5, bb7)

ex. 132

Here in example 132 I’m combining sweeps with alternate picking.

The idea is that we add tensions to the basic triad arpeggios to form
more complex sequences.
Let’s take a look at the shapes used in example 132.

A maj (I’ve added the 4th)

F# min7 (added b6th)

D maj7 (added 2nd)

This idea is well worth experimenting with. Try it yourself and see what you
come up with.
ex. 133

In example 133, our first 5 string arpeggio, we’re starting things cautiously with an
E Minor Seven Arpeggio.

One thing that stands out about this example is that it’s written in fives, so as
Well as helping us with our arpeggios 133 is helping us to learn this interesting
Rhythmic grouping.
We’re also using all four fingers of the left hand, so this one’s also a great test
for synchronising both hands.

E min7
Let’s take the previous idea and use it with other arpeggios:

E maj7 (1, 3, 5, 7) Major Seven

E_7 (1, 3, 5, b7) Dominate Seven

E_min7 (1, b3, 5, b7) Minor Seven

E min7 b5 (1, b3, b5, b7) Minor Seven flat five

Now, let’s take some of these ideas and move them around diatonically.

In this case C Major.

 ex. 134

In example 134 I’m playing a D minor seven

that mixes Sweep- picking with legatos.

D min 7

Ok, as always let’s take this idea and extend it a little bit...

Right, we’re going to make all the seventh arpeggios we can, using D as the root.

D maj7 (1, 3, 5, 7) Major seven

 D 7 (1, 3, 5, b7) Dominate seven

D min7 (1, b3, 5, b7) Minor Seven

D min7 b5 (1, b3, b5, b7) Minor Seven flat five

D min Maj7 (1, b3, 5, 7) Minor with a major seven

 D maj7 #5 (1, 3, #5, 7) Major seven sharp five

* b6 = #5

RE 7º (1, b3, b5, bb7) Diminished Seven

* 6 = bb7

D 7 #5 (1, 3, #5, b7) Dominate Seven Sharpe Five

* b6 = #5

Now, with these above examples let’s play some diatonic arpeggios in D Major.
ex. 135a
Exercise 135ª combines Legato and Sweep Picking to form Arpeggios in C Major.
ex. 135b
In 135b I’m doing the same thing as I did in the previous example but this
time I’m using different string groups.

For example.... if we take a Major arpeggio on the first four strings look at the notes
which make up the arpeggio we can then move the pattern to string groups 2, 3,4,5
or strings 3,4,5,6.

In the above diagram we can see three different fingerings of C major.

This is one of the drawbacks of our instrument; we have to learn different fingerings
even though the notes remain the same.
ex. 136

In example 136 we’re playing diatonic arpeggios and using the same sequence for each.

For this one I’m using D Major.

Let’s take a look at the fret board diagram for the previous exercise....

Major Arpeggio 1, 3, 5

Minor Arpeggio 1, b3, 5

Diminished Arpeggio 1, b3, b5

*With all these patterns we’re using E as our root-note.

Now lets take the same idea and use it to play other diatonic arpeggios.

How about D Minor?

 ex. 137

Exercise 137 shows us how to play two positions of the same arpeggio.
The arpeggios in question are E minor and G major.

E minor

G major

Experiment with this idea to come up with your own things.

ex. 138

This exercise mixes groups of five and groups of six in a sequence that combines Sweep
Picking and Legato. The two arpeggios are E min7 add4 and A min.

E min7 (add4) A min

*
E min7 add4 = E Minor Pentatonic
ex. 139
Exercise 139 is a short etude that combines Sweep Picking with
Alternate Picking.
This exercise can also be started from the 5th string 139b

Let’s take a look at the basic shapes used in Ex. 139

We can basically break it down into two segments.

Triad Arpeggios + Six note Scales

If we merge the two segments together the result can be seen as

Major Seven Arpeggio with an added 9th and 11th, or as

A Major Scale without the 6th degree (In this case E Ionian without the 6th)

Lets take this idea and apply it to the other modes of the major scale;
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian y Locrian.
 The Modes
(Idea del example 139)

IONIAN 1, 2, 3, 4, 5, 6, 7

* Ionian (no 6th)

DORIAN 1, 2, b3, 4, 5, 6, b7

* Dorian no 6th (can be seen as either Dorian or Aeolian)

PHRYGIAN 1, b2, b3, 4, 5, b6, b7

* Phrygian no 6th

LYDIAN 1, 2, 3, #4, 5, 6, 7

* Lydian no 6th ( b5 = #4 )
 MIXOLYDIAN 1, 2, 3, 4, 5, 6, b7

* mixolydian no 6th

AEOLIAN 1, 2, b3, 4, 5, b6, b7

* Aeolian no 6th (can be seen as either Aeolian or Dorian)

LOCRIAN 1, b2, b3, 4, b5, b6, b7

* Locrian no 6th

A great way to practice these ideas is to play then in any given key.

For example D Major.

And don’t forget-we still have the melodic and harmonic minor scales to master!

All these ideas will enable us to mix both scalar and arpeggio ideas whilst
improving our general music theory.
ex. 140

In exercise 140 I’m using to different shapes for the following arpeggios
G maj7 and A min7.

If we put these two shapes together we get the following.

Which looks amazingly like a G Major scale.

Let’s take a look at the separate arpeggios.

G maj7

A min7

Again, don’t be afraid to experiment with these ideas. If you like the previous example
Try applying the theory to other make up other seventh arpeggios.

Maj7 (1, 3, 5, 7)

7 (1, 3, 5, b7)

Min7 (1, b3, 5, b7)

Min7 b5 (1, b3, b5, b7)

Min Maj7 ( 1, b3, 5, 7 )

Maj7 #5 (1, 3, #5, 7)

7º (1, b3, b5, bb7)

7 #5 (1, 3, #5, b7)

Let’s change keys and see if things come out as planned!!!

ex. 141
Example 141 is a great way to start sweeping on 6 strings.

There are quite a lot of arpeggios in the first example, but we only really
have to remember two patterns.

A major (First Pattern) E major (Second Pattern)

OK, let’s take this idea to other keys.

Let’s try the first pattern in A Major.

And now the second pattern E Major.

ex. 142a

Check out this other example of an A major arpeggio using 6 strings.

It’s really made up of smaller 3 string arpeggios (one for every beat of the bar).

This is how pianists approach arpeggio playing.

Let’s take a look at the fret board diagram.

A Major

Heres an important tip when practicing this or any other arpeggio- think ot the timing.
Let’s explain. In example 142a we’re playing sixteenth notes and the phrase starts on the
first of these. We can then expand on this idea by starting on each subsequent sixteenth
note.

Let’s take a look at this on the videos.

A Major starting on the first 16th ....

A Major starting on the second 16th ....

A Major starting on the third 16th ....

A Major starting on the forth 16th ....

ex. 142b

In 142b we’re using the same idea as before, only this time
we’re in A Minor.

A Minor

Try using the rhythmic ideas used in the previous example with other examples
shown in the book.
ex. 143a

In this example I’m using the same idea as before, taking small arpeggio forms
and combining them to make bigger more “monster” arpeggios.
B minor
ex. 143b
In exercise 143b we’re doing practically the same as in 143ª, only this time I’ve
Changed the b3 for a major third and come-up with a B Major arpeggio.

B major

In exercise 143a we’re playing three-note arpeggios therefore the most natural way of
playing this example would be to use triplets. But in this example we’re using crotchets.
This obviously takes a bit of practice but it’s worth the effort.

Try using the same idea but with other rhythmic groupings, how about groups of five?

In example 143b we have a B major arpegio built on a four note sequence and therefore
it would have been easier to have played it using sixteenth notes. But I’ve played the
same four note sequence using groups of six to make it sound more interesting

This is the generall idea, you must be able to play any phrase or idea using any rythmic
grouping. And we’re not just talking about triplets or sixteenth notes, there are also some
less common ones

Let’s take a look at how groups of seven would sound with exercise 143b.

By practing in this way you will be able to control and divide these examples and that has
got to be good for your technique.
ex. 144

This example combines picking with 2 string sweeps.

For this example we’re using two positions of C minor Pentatonic.

This is a great way to practice groups of five.

This is a very natural way to play groups of five.
Let’s take a look at the fretboard diagram.
C minor Pentatonic.

As I mentioned before this example is quite easy to play.

Things start to get interesting with triplets or crotchets

Don’t forget to practice this idea with other positions of the pentatonic scale or any of the
diatonic scale shapes we looked at earlier.
ex. 145

In example 145 is a C maj #5 (1,3, #5) triad arpeggio.

We’re playing this example over three strings and playing the three inversions of the
arpeggio to end-up one octave higher.

Lets take a look a the fret board diagram.

C maj #5 (1, 3, #5)

* b6 = #5

Augmented triad arpeggios, (1, 3, #5),

And diminished seventh arpeggios, (1, b3, b5, bb7)
Use the same fingering in all of their inversions.
 ex. 146

In this example we’re playing an E maj7 arpeggio that we’re playing through four
octaves.

E maj7

The fingering of this pattern can only really be used in E. Let’s see if we can come-up
with a more “user-friendly” version of this pattern.

Something like this.

E maj7

Now, the next stage is memorize the patterns of the other 4-note arpeggio shapes.
Maj7 (1, 3, 5, 7) 7 (1, 3, 5, b7), Min7 (1, b3, 5, b7),
Min7 b5 (1, b3, b5, b7) , Min Maj7 (1, b3, 5, 7), Maj7 #5 (1, 3, #5, 7),
7º (1, b3, b5, bb7), 7 #5 (1, 3, #5, b7).

Lets take a look at a few examples.

 MI maj7 (1, 3, 5, 7) Major Seventh

MI 7 (1, 3, 5, b7) Dominate Seventh

MI min7 (1, b3, 5, b7) Minor Seventh

MI min7 b5 (1, b3, b5, b7) Minor Seventh Flat Five

As always, these ideas can be played in other keys.

How about C Major?

ex. 147

This is a great way to practice you’re Sweep Picking on all six strings.
I’m using G Major.

In this example we can see how to link two positions of a triad arpeggio.
In this case all the arpeggios are major, so we’ll be using the same fingering throughout.

The arpeggios in question are G major, C major and D major.

G major
C major

D major

G major (one octave higher)

Notice that the fingering is the same for all three arpeggios; the only thing that’s changed
is the root note.

We can also change the intervals to make minor or diminished arpeggios.

A min (1, b3, 5)

A min b5 (1, b3, b5)

ex. 148a

This exercise combines alternate picking with sweep picking

I’m playing this A Minor arpeggio on the two low strings and the two high strings.

And the Aeolian scale on the middle two strings.

Let’s take a look at all the notes that make up exercise 148a.

This can be seen as A Aeolian,

because it contains all the intervals of the Aeolian Mode: 1, 2, b3, 4, 5, b6, b7.
ex. 148b

In example148b we’re applying the same idea as before, only this time we’re playing a
major arpeggio and the notes of G Mixolydian.
Let’s take a look at the diagram.
G Mixolydian (1, 2, 3, 4, 5, 6, b7)

Let’s use the same idea to play some other modes.

G Ionian 1, 2, 3, 4, 5, 6, 7

G Dorian (1, 2, b3, 4, 5, 6, b7)

G Phrygian (1, b2, b3, 4, 5, b6, b7)

G Lydian (1, 2, 3, #4, 5, 6, 7)

* b5 = #4

G Mixolydian (1, 2, 3, 4, 5, 6, b7)

G Aeolian (1, 2, b3, 4, 5, b6, b7)

G Locrian (1, b2, b3, 4, b5, b6, b7)

ex. 149a

This is another example that mixes Alternate Picking with Sweep Picking.
This will also help us to visualise arpeggios and scale shapes.

Example 149a is made up of a triad arpeggio in B minor on strings 5,4,3,2 and 1

And a six-note sequence on strings 6 and 5.

Here’s the fret board diagram.

Note that the 7th degree is not included in this example and therefore does not reflect the
true sound of the mode.

If we wanted to include the 7th degree we would have to play a instead of the triad.

For Example:

B Aeolian

In this fret board diagram we have all the intervals that make-up the Aeolian mode.
The next step would be to change the intervals to come-up with the other modes as
Explained in the previous example (ex148)
 ex. 149b

Exercise149b is based on the same idea as 149a but this time we’re using D Major.

As we saw before, this fingering does not reflect the true tonality of the mode.

If we want to play all the notes of the scale the only thing we have to do is add
the 7 th degree to the arpeggio.

D Ionian (1, 2, 3, 4, 5, 6, 7)

Another option would be,

D Mixolydian (1, 2, 3, 4, 5, 6, b7)

Try playing the other modes using the same idea

Ex. 150

In this last 6 string sweep example we’re going to mix Sep Picking with some String-
Skipping.
Let’s take a look at some of the patterns that we’re going to use.

C maj (1, 3, 5)

C min (1, b3, 5)

C min b5 (1, b3, b5)

C maj #5 (1, 3, #5)

* b6 = #5
ex. 151

In this first example I'm just going to play a scale using Economy Picking.
Let’s try B Harmonic Minor.
B Harmonic Minor.

Why not try using this idea to play other three note per string scales?
 ex. 152

In this example I’m using both Economy and Sweep Picking in E major.

How about if we move this up the neck?

C major
ex. 153

This is basically an Economy Picking sequence in one position using three notes per
string. This time we’re using G Major.

G Major

We can apply the same idea to any other three note per string scale.

G Dorian
ex. 154

Exercise 154 is a descending lick that uses Economy Picking.

This time I’m using the A# SuperLocrian scale.

A# SuperLocrian (1, b2, b3, b4, b5, b6, b7)

* 3 = b4
 ex. 155

This is basically an F Major scale without the 4th degree. For this reason it could
also be seen as an F major 7 arpeggio to which the 9 th and the 13th have been added.

FA maj7 add 9 13 (1, 2, 3, 5, 6, 7)

Because this lick has no third it works fine over both

F Ionian and F Lydian.

IDEAS AND PHRASES

ex. 156

This example gives us another option for playing 7th arpeggios

Here we’re using F# min7 and G# min7.

F# min7 G# min7

We’re using the same fingering for both arpeggios.

But we can use the same idea to form other arpeggios.

A maj7 A7
ex. 157

In Example 157 I’m mixing two triad arpeggios.

D Major

ex. 158

Example 158 can be seen as a C_maj7 add9 ( 1, 2, 3, 5, 7 )

 ex. 159

El 159 is an F# diminished Seven

The phrase is taken from this pattern- which is repeated 3 frets lower in bar 3.

We can keep repeating this pattern every 3 frets, continuing with the same shape but

Working through the different inversions of the arpeggio.

ex. 160

In this example I’m adding a Tap to a Sweep picked arpeggio.

This ones in A Lydian. Basically it’s an Amaj7 arpeggio to which I’ve added
the 9th and the #4.

A maj7 add9 #4 ( 1, 2, 3, #4, 5, 7 )

* b5 = #4

We can use the same idea to play other modes:

A Ionian

A Mixolydian

Although these examples do not include the 6th, the Ionian, Lydian and
Mixolydian still retain their “flavour”.
ex. 161a

Example 161a shows us an A major arpeggio in various inversions.

Watch out for the String Skipping in bar two.

A maj

From the above diagram we can obtain three smaller shapes of A Major.
ex. 161b

El 161b is a D Major arpeggio, made by linking various patterns.

Let’s take a look at these patterns:
 ex. 161c

Last but not least G#7º- where I’m also linking smaller arpeggio shapes.

SOL# 7º ( 1, b3, b5, bb7 )

* 6 = bb7

Let’s take a look at these smaller patterns.(Note that they are the same)
ex. 162

In this phrase I’m mixing two four note arpeggios.

The arpeggios in question are Amaj7 and Emaj7 .
This combination can be seen as Amaj7 add#11.

Here’s the fret board diagram.

A maj7 add#11 ( 1, 2, 3, #4, 5, 7 )

* b5 = #4

Try mixing other types of arpeggio or change the intervals.

ex. 163

This example uses the same idea as before.

The idea is to form arpeggios with added tension.
In this case we’ve got el B min and F# min
The result of combining these two triad arpeggios is a four note arpeggio
with the added 9th.

Bmin7 add9
ex. 164

In this example I’m using Sweep Picking to play a pentatonic phrase.

Here I’m using the D Minor pentatonic.

D minor Pentatonic.

This sounds quite like an arpeggio. That’s because a pentatonic can also be seen se a
Minor seventh arpeggio to which the onceava has been added.
ex. 165

Example 165, combines various triad arpeggios to form a progression of arpeggios in the
key of G major

This ones great for Sweep Picking.

ex. 166
Example 166 is another example in G Major.

As we saw in 165 we can use it as an exercise to practice out triad arpeggios

with Sweep Picking.

Let’s break thing down A minor and have a look at bars 1 and 2.

A minor

Now, we can change the intervals in order to build the remaining triad arpeggios.
ex. 167

In this example I’m mixing Sweep Picking con with legato.

This ones in F Major (1, 2, 3, 4, 5, 6, 7) .

The b5 can be seen as a chromatic passing tone.

We could break the above example down into 3 separate parts.

1st Part 2nd Part 3rd Part

Arpeggio A min7 Arpeggio D min F Major scale

When we have divided the whole lick we can change the order of the parts to
Make different licks with the same notes.
For Example
2nd Part + 1rd Part + 3st Part = 3rd Part + 2ndPart + 1st Part =

I call this “Fragmentos Fraseologicos” and can be applied to any phrase or sequence
that you learn.
You can also use rhythmical variations and different positions to change things about.
ex. 168

Here, we’re back to E major and I’m combining Sweep Picking with Legato and
Tapping with two fingers of the picking hand.

E maj

Basically it’s an E major arpeggio to which I’ve added all the tensions
apart from the 11th.
ex. 169

In this example I’m combining Alternate Picking and Sweep Picking.

This time B Harmonic Minor.

This very same phrase can be seen as a B min maj7

to which we’ve added the 9th and the 11th.

Now, with the same idea and using the same sequence we can change the intervals
To make other arpeggios.
For example
B maj7 add9 11ª

B7 add9 11ª
ex. 170

Example 170 combines the B Major pentatonic and the B Minor Blues.

B Major Pentatonic (1, 2, 3, 5, 6)

B Minor Pentatonic Blues (1, b3, 4, b5, 5, b7)

These type of ideas work well over Dominate Seventh Chords

This example is good for it’s string Skipping, alternate picking and the small
sweeps on the first two strings.
ex. 171

Exercise 171 combines Sweep Picking (strings 1, 2, 3, and 4 ),

with Economy Picking ( 5th string).
This time we’re in E major.

If we look a little closer we’ll see that it’s made up of two small arpeggios.
A maj E maj7
 ex. 172

Example 172 takes us back to the key of G Major.

The same idea works just a well in A Minor.

As we saw in the previous example, we’re using two small triad arpeggio shapes.

A minor and G major

ex. 173

This time we’re back to F Major.

If we look how this phrase is built we can see that it is the same as the previous two
examples (ex171 and ex 172).
But what makes it different is the way it’s played.

The idea of this lick is that you learn to play and kind of phrase with SweepPicking
but you change the rhythmic content.
Triplets or crotchets are fine when we’re practicing but when we come to play
it can get very boring if we don’t use anything else.
Try combining rhythms, adding silence, etc.
ex. 174

This example start’s with G major arpeggio in the first bar and then continues
with a sequence of altered picking and legato on the first two strings.

G Major
ex. 175

In example 175 I’m combining Sweep Picking and Legato.

B Minor Pentatonic

This idea is basically in B Minor Pentatonic, but also includes the 2 nd degree
Because the phrase finishes with a F# Min7 arpeggio.
F#min7
ex. 176

This example combines Sweep Picking with Tapping to form triad arpeggios with an
added 9th.

We can use this idea to construct other arpeggios with the added9th.
(See next page)
 TRIAD ARPEGGIOS UIT ADDED 9TH
A maj add 9

A min add 9

A min add b9

A min b5 add b9

These are just some way of playing triad arpeggios with the added 9th.
By using the same idea we can now make other arpeggios with the added 9th.
 ARPEGIOS WITH THE ADDED 9TH

A maj7 add 9

A 7 add 9

A 7 add b9

A min7 add9

Now, all we have to do is change the intervals to come-up with other arpegio shapes.
Maj7 add 9 , 7 Dominant add 9 , min7 add 9 , min7 add b9 , min7 b5 add b9,
min maj7 add9 , maj7 #5 add9 , 7 Dominant add b9 , maj7 add #9 ,
7 Diminished add b9 , min7 b5 add9 , 7 Dominant #5 add b9,
7 Dominante #5 add #9.
ex. 177a

Example 177a is another add 9 arpeggio but here I’m using the pick and the middle
finger of the right hand.
It’s a bit of a mix between Sweep Picking and Finger Picking. Perhaps we could call it
Finger Sweep Picking !!!!!!!

The arpeggio used in this example is A min7 [Link]’s take a look at the fret board.

A min add9

We can break this down into two separate sections.

First part Second Part

Amin7 add9 A min

The first part is an Amin7 add9, played with the “Finger Sweep”,
And the second part is an A min played with Sweep Picking.
ex. 177b

Exercise 177b uses the same idea as before, only this time we’re playing a Gmaj7 add9 .

The two previous examples involve barring with the middle finger which is probably
Not the easiest of techniques for the beginner!!!!!!!!

How about this idea which you can use as an introduction to this technique.
Try playing diatonic arpeggios in C Major.

C Major (with Finger Sweep)

Ok, let’s change this about a bit. This time we’re

plucking with the middle finger and then Sweeping the 6 th and 5th strings.

The next stage is to apply this idea to other keys and other groups of three strings.
5th, 4th, 3rd or 4 th, 3rd, and 2nd and finally 3 rd, 2nd and 1st.

When you’re used to playing this on three strings try it on four strings.
ex. 178

Here’s a phrase that combines groups of 7 and groups of 6’s. This time we’re in
E Harmonic Minor.

We can divide this example into two sections.

The first part is a D Diminished Seven played on three strings and taken through all
it’s inversiones.

D#7º

The second part is a E harmonic minor scale with Alternate Picking.

Tapping
In the forth part of this book we’re going to look at various ideas
and phrases using the Tapping technique. The technique is based
very much on the Legato technique we looked at earlier, only this
time we’re going to use one or more fingers of the right hand to
tap notes on the fret board.

With tapping (as with Legato) we have to press the string with
precision in order that the note sounds clear and loud. Once we
have tapped the note in question we then have to pull off to our
initial position.

Both the tap and the pull-off must be preformed accurately.

This technique cab be preformed with any right hand finger,

although the most habitual is the middle or index finger. Some
people prefer the middle finger it’s all a question of personal
taste.

Tapping with the index finger might seem to be the first choice
but this presents problems when we have to combine tapping with
picking and therefore have to change the position of the plectrum.
This problem can be overcome by tapping with the middle finger
whilst holding the plectrum in the normal position.

In all the examples in this book the tapping finger is always

indicated with a number within a circle. In tab it’s represented
with the following sign “+”

Personally, I prefer to use the middle finger for the majority of

my tapping if you fancy tapping with a different finger than no
problem. As with the tapped notes, the fingerings are just my
suggestions and feel free to change them if you feel more
comfortable playing them with an alternative fingering.
Apart from tapping with one finger we can in fact tap more than
one note with the right hand. We’ll take a look at these in more
detail later.

Synchronization is very important when tapping. As with all the

other material start slowly, with a metronome, and build up the
speed slowly. If you’ve got the synchronisation the speed and
fluidity will come later. Trust me!!

This technique, which starts with 179-201, is laid-out in the

following manner:

ü Tapping Scales (179-191)

ü Tapping Pentatonics (192-201)
ü Tapping Arpeggios (202-208)

Tapping Scales

In this section we’re going to look at how to combine tapping

with scales and modes.

Things get harder as we go along. So, we’re going to start tapping

on one string, then two strings, tapping and slides (181 and 185)
and tapping with string skipping (191).

All these are preformed with the middle finger but gradually we
will incorporate more fingers. We’ll also be using groups of five
and groups of six notes and various combinations.

Tapping Pentatonics (192-201)

In examples 192-201 we’re going to be tapping pentatonics, both

the major and minor pentatonics are looked at along with the
blues scale. We also take a look at pentatonics with open strings
and string skipping.
Tapping Arpeggios (202-208)

In this last section we are going to be tapping arpeggios. We’re

going to take a load of ideas and make triad arpeggios and also
four note arpeggios!!!! We’ll take this idea over 2, 3, 5 and 6
strings and we’ll also be adding tensions such as the added 9th,
11th.
ex. 179

This first Tapping example is a melodic sequence played on one string.

Note that the right hand is always tapping the same note.

The scale used in this example is C Harmonic Minor.

If you play this exercise on other strings the resulting scale will always be the Harmonic
minor and the root note will always be on the fifth fret.

For example...
G Harmonic Minor

D Harmonic Minor

A Harmonic Minor

E Harmonic Minor

A Harmonic Minor
ex. 180
Example 180 Here I’m playing in E Major.

Let’s take a closer look at this one!

E maj (Bars 1 and 5)

B maj (Bar 2)

F# min (Bar 3)

A maj (Bar 4, 1 and 2 beat)

B maj ( Bar 4, 3 and 4 beat)

ex. 181

This example combines tapping ,Legato and Slides. This time in E Minor
E Minor

This can also be seen as the combination of two pentatonic scales.

A Minor Pentatonic on the second string
E Minor Pentatonic on the first string

A Minor Pentatonic

E Minor Pentatonic
ex. 182

This idea starts in A Major and finishes with the a Harmonic Minor.
This ones a bit different to others because we’re playing groups of five.
ex. 183

In this example we combining using goups of six and groups of five.

This example uses the Whole Tone Scale.

This ones quite tricky as we’re using all four fingers of the right hand and two of the left
hand. (Or the other way around if youre left-handed).
Let’s take the idea seen in 183 and use it with different scales.

For Example:
A Minor

A Major

And on other strings.

E Dorian
ex. 184

This example uses all the fingers of the right hand. (with the exception of the index and
the thumb which are holding the pick).
This is a séquense in A minor on the first string which repeats on the second string
Where the scale changes to E minor.

Why not repeat the séquense on the other strings?

ex. 185

In this example we’re using the side of the pick to tap the notes. This is something that
Satriani uses quite a bit!!!
ex. 186

The idea behind lick 186 is that the right hand taps in the same position
And the left hand does all the work, forming sequences and melodies.

Here I’m using B Minor (Two string pattern).

ex. 187

In this example I’m using the a Minor Blues Scale to play a 3 string tapping lick.

A Minor Blues ( 1, b3, 4, b5, 5, b7 )

ex. 188

Example188 is another Tapping idea on three strings. In this idea we can see how the
little finger taps the first note on each new string.

Try this sequence on other strings.

The pattern in 188 is a symmetrical pattern.

Just a quick note about symmetrical patterns:

Good Points: really easy to finger.
Bad points: Perhaps not the most musical thing in the world.

Whichever way you look at it chromatic and symmetrical patterns are great for sorting-
out Technical Difficulties (Great Tune!!!!!!).

Let’s see the same idea applied to a scale.

A minor Pentatonic.

How about a different fingering of the same scale?

A Minor Pentatonic
ex. 189

Example 189 is a diatonic sequence in C Major played on all six strings.

C Major.
ex. 190

In 190 is another tapping lick, this time in A Harmonic minor.

A Harmonic Minor
Ex. 191

Exercise 191is a Tapping lick in which I’m string skipping a symmetrical pattern.
ex. 192a

In 192 I’m playing a pentatonic sequence in groups of six.

ex. 192b

Example 192b uses exactly the same pattern but the sequence is different.

A minor Pentatonic

The idea here is to practice various scales, but change the fingering now and again.
ex. 193

This example uses practically the same fingering as before (192),

but I’ve added open strings.

I’m still using the A Minor Pentatonic

A Minor Pentatonic

We could use any other scale or shape and then add open strings as long as the open
don’t grate the ear.
Ex. 194

Example 194 is an example of Tapping Octaves

In this example the right hand is tapping the notes one octave above the left hand
Fretted notes.
This ones is A Minor Pentatonic

A Minor Pentatonic
ex. 195

Here we’re using tapping to play groups of five.

This is probably one of the easiest way’s to play this rythmic group.

B Minor Pentatonic
ex. 196

In example 196 I’m taping a note with the right hand and then sliding this note.
This time I’m using D Minor Pentatonic.
The note I’m tapping is the b5, which I then slide up to the 5 th and then down to
the b5.

Let’s take a look at the fret board diagram.

RE Menor Pentatónica Blues

ex. 197

In this example we’re using the G Minor Blues Scale.

G Minor Blues Scale

The idea behind this example is two play groups of 3 notes with tapping

We can take this idea and apply it to other scales.

A Minor
ex. 198

In this example the left hand always plays the same four notes it’s the right hand that
changes position whilst tapping.

For this example we’re using G Major.

Take a look at the left hand- it’s almost as if we were tapping with the left hand.
 ex. 199

Let’s continue with this idea of “left hand tapping”.

We’ll use A Minor Pentatonic for this one.

Lets use this idea to ascend and descend to different patterns.

A Minor Pentatonic

A Minor Pentatonic

Let’s now apply this idea to other scales and modes.

 ex. 200

With this example we’re going to do something new. We’ve been using various fingers
to tap notes on one string. Now we’re going to use two fingers to tap two different
strings, one finger on each string.

For this one we’re using A Minor Pentatonic.

Heres the same idea but with string skipping.

ex. 201

Example 201 is bascially an E Minor scale played in forth’s.

We can take this example and change the root note, we can make other scales or modes.

Now the same notes and pattern can be seen as D Mixolydian

ex. 202

In example 202 the left hand is playing a triad arpeggio while the right hand plays the
various tensions.
Here we’ve got the following arpeggios de G major7 and A minor7.

G maj7 add 13

This G Maj7 shape can also be seen as an E min7add9 it all depends on the root.

Emin7 add9
Amin7add 13

The same happens with the Amin7add 13 which can be seen as F#min7b5add b9
F#min7b5add b9

This concept is applicable only when the intervals that are formed with relation to
the root are important to the arpeggio as is the 3 rd, 5th or indeed the 7 th.

This is not totally “correct”, because if we make our root note G we don’t make
a defined cord because we don’t have the 3rd or the 5th.
A better way would be to take the A note to build a A min7 add 13 arpeggio,
or to add the F# and make a F# min7 b5 add 9.

This practice has its limitations but it is not the purpose of this book to go into
theortically explanations, this is something that I may expand on at a later date.
 ex. 203

In this example we’ve got an A minor arpeggio with Tapping on 5 strings.

We can break this down into two smaller shapes

A min Shape 1 Shape 2

By breaking these shapes into smaller segments they become easier to learn
ex. 204

This is a great way to play arpeggios on two strings.

This example is in G Major.

ex. 205a

Example 205a mixes various techniques to play a G#7º arpeggio.

G#7º

* 6 = bb7

To start this example, first we’ll leave-out the tapping.

G#7º
ex 205b

Exercise 205b usese the same idea as 205a onlt this time we’re using Minor Pentatonics.
Lets take a look at the patterns used in 205b.

E Minor Pentatonic

A Minor Pentatonic

This same shape can also been seen as C major Pentatonic

C Major Pentatonic

Or as an Amin7add 11

Amin7 add 11

It all depends on the harmonic content and the flavour we want to give
the particular phrase.
ex. 206

The 206 is a G#7º arpeggio played on all six strings.

 ex. 207

This phrase in G Major mixes a one string tapping sequence

(bars 1and 2), with an arpeggio (bar3).

And how about the arpeggio of Gmaj with tapping?

G maj

Now the same idea but the minor version.

G min
ex. 208

In this last example we’ve got a D major arpeggio with Tapping.

Here, we’re using three of the right hand fingers.

D maj

And once again the minor version D minor.

D min
Advanced concepts
Visualisation
A very important point to bear in mind when practicing all scales and
arpeggios is that of visualisation. We must be able to see all the intervals
that make up every example and know how they relate to the root note or
cord tone we are playing.

If we take time to analyse the exercises this will help us when we come to
change keys or indeed if we want to change a certain idea to match a
different chord type.

In order to achieve this all the examples in the book have at least one fret-
board diagram. Use these diagrams to memorise the pattern and the
intervals contained within this pattern as you are playing it.

Remember that the intervals are always related to the root note. Therefore
if we change the root note within a specific pattern the resulting intervals
will also have changed.

It’s also a good idea to practice any scale, arpeggio or phrase in various
keys. Don’t worry if you can’t practice 8or indeed memorise) all of the
examples in this book. Bear in mind that the majority of even the best
guitarists only use a few ideas, but these ideas are controlled perfectly and
are able to be adapted to different musical situations which gives the
guitarist their “own sound”. We can do the same as well, by taking a few
ideas and really having a good understanding of what we are playing and
making them our own. Because don’t forget, the idea is to make music!!!!

Together with this book you will find a PDF file with blank fret-board
diagrams, which you can use to write-down, you’re own ideas. I’ve also
included standard treble clef sheets if you find the need to write it down in
note form or even in Tab.
Technical focus
This is what I call technical focus.

For example: Let’s suppose you want to practice your tapping. Were going
to do our tapping with all the scales and modes. We can start with intervals
3rds, 4ths, 5ths and 6ths whilst using tapping. We can also play sequences
and scales with tapping, triads with tapping and arpeggios with tapping,
tapping on one, two or more strings and even improvisation!!

This is a great way of improving a specific technique. This can be used

with any technique (I’ve just given tapping as an example).

Melodic focus
This is a way of playing a certain idea using various techniques.

For example: let’s suppose you want to learn all the positions and shapes
of the pentatonic scale in order to move around the fret-board. So, we’ll do
the same as before.

Pentatonics on one string, two strings etc. Then we could play the
pentatonics 3 notes, or 4 notes per string- all this time we are getting more
familiar with the fret-board.

What if you’ve got the pentatonic’s down!!

Well, you can move-on to arpeggios and use various techniques to play
your arpeggios, always visualising the various patterns and intervals so
that they can later be used in your own improvisations or indeed your own
compositions.
Improvising with ideas
To really control a new idea we’ll have to be able to improvise with it. I
recommend that after every practice session you spend at least a third of
the time you have spent learning a new idea but now you’re going to
improvise with it. For example, if you’ve spent 15 minutes practicing a
new idea form the book it would be advisable to spend 5 minutes playing
with some king of backing track.

There are many ways to improvise but want we are aiming to do is to

apply these new ideas to our improvisation and to play it enough so that
we have total control over this new idea. At this stage don’t be nervous if
your fingers find these new positions strange and that you can’t play the
ideas as fast as you may like just keep playing it. Try making variations on
the same idea but adding rests, changing the rhythmic groupings etc.
There’s a difference between working on a certain idea and applying the
same idea to an improvisation. When we are improvising we’re looking for
melodies and joining small phrases whereas when we’re practing an idea
want we want to do is concentrate on what our fingers are doing, get used
to these new sounds- all of which will help us when we are improvising.
It’s very important that during the practice time you devote to
improvisation you limit yourself to using almost exclusively the new ideas
that you want to eventually form part of your vocabulary.

The idea of practising just with one idea, technique or phrase is taken
even further when we play over different styles of backing tracks. This
makes us change our phrasing to suit the backing whilst using the idea or
lick we wish to perfect.

There are many ways to understand and practice improvisation but this a
subject we’re not going to delve into in this book I just thought it
appropriate to mention several ways of using the ideas in this book.
Conclusion
As a student of the guitar I have seen lot’s of music book full of with
exercises and phrases but have never seen one in which the author explains
to the student ho to expand on what t is shown in the book. For this reason
I decided that in my first book I would try to explain different ways to
practice an idea, phrase or exercise.

The idea is that you can take the material presented in this book and use it
to come up with your own ideas and indeed how to practice ideas found in
other sources: books, videos, WebPages, etc.

But it’s really you who has the last word. Due to the size of this project I
have not been able to explain perhaps as much as I would have liked to
about certain aspects of guitar playing. But let’s not that we also have
chords to learn and other expressive techniques such as: slides, bendings,
vibrato etc. These are all things that when put together sort the men out
form the boys!!

I sincerely hope that this book helps you on your quest to becoming both a
better guitarist and musician.

Toni Lloret