![]() ![]() Triplet runs over A minor and G major shapesĮxample 4 takes the previous idea further, with a flow of triplets using A minor and G major C shape arpeggios. Aim for a smooth and consistent approach from your picking hand, ensuring that you mute each string once it has been played, so as to avoid notes ringing into each other.Įxample 4. This introduces you to the classic C shape arpeggio, using both minor and major shapes. Focus on getting the triplet phrasing right here, in order to get a fluidly repetitive sound.Įxample 3. This example takes the triad idea somewhat further, with a couple of sweep picking licks combined with pull-offs to create a series of fluid licks in two different positions. To do this cleanly, roll your finger across the strings so that the notes are separate and do not bleed into each other. ![]() The trickiest part here is using the first finger of the fretting hand to play the arpeggio in the 5th position. Our first example shows how sweep picking can be applied to triads on the first, second and third strings. Don’t go heavy on the reverb and delay, as this can obscure what we want to achieve. So in this instance guitar and pickup choice doesn’t really matter, but it makes sense to experiment with different pickup positions, gain levels and tones, to see which suits you best. The great exponents of sweep picking do it with a variety of different guitars, from jazz guitars to metal axes. Get the toneĪmp settings: Gain 6, Bass 6, Middle 4, Treble 5, Reverb 3 You’ll find a metronome to be a valuable tool to help you focus on your timing. You may wish to play each arpeggio in isolation, before tackling the examples in full, in order, so as to focus on the fingering for each shape. Aim for a smooth and consistent picking technique when ascending and descending each arpeggio, while the fretting hand follows with perfect coordination. ![]() It is important to tackle the examples at slow speeds at first in order to synchronise your hands, especially if sweep picking is new to you. The same technique is used when descending the arpeggio, with the first note on the 5th fret played with the pad of the first finger, leaving enough flesh left to roll over to the following notes. This principle is applied to each note so that the resulting sound is that of clear and distinct notes, rather than a strummed chord where all of the notes ring into each other. ![]()
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