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Hi. Thanks for tuning in the second part of our developing speed techniques
Teacher: To recap last week's lesson, we are
trying to develop a concept of speed of groups of notes rather than individual
notes played fast. We covered some exercises for coordinating the hands and paid
particular attention to our right hand position.
Teacher: Remember to practice all tonight's
examples with the same hand position you achieved through the last lesson and
this week's practice.
Teacher: We left off with some 'speed increment'
building exercises. Realizing most speed runs utilize a pattern of similar right
and left hand movements from string to
Teacher: Tonight we will incorporate that into
scale runs and riffs.
Descending Speed Lick
The riff uses a six note increment
Teacher: Practice this using alternating down and
up strokes. To remind yourself of the 'feel' this should have, alternate with
The next piece of the puzzle involves learning to play scale speed runs using
the basic finger motions in the previous lesson (see last
that first lick is not a real scale
Teacher: More of a simple shape to work on
coordination and picking.
Teacher: A good place to start as they don't
involve a lot of mental energy and can quickly fine tune your
Teacher: Almost any fingering pattern which is
easy to visualize will work fine.
Teacher: Now instead of looking at the notes as
if they were exactly frets 5, 6, and
Teacher: Think of them as the lowest, middle and
highest on the string in a three note per string pattern.
Teacher: That way you can make changes to fit any
of the actual scale patterns I am sending now.
Note Per String Patterns 1-4-7
Here are three different '3 note per string' patterns. I tried to keep the
number of tabs down so I grouped 3 in this first. When playing the tab you
should see the notes highlight to seperate the patterns. Make sure you have the
guitar neck up when you play back the notation and you will see the notes
Teacher: The circles were necessary to highlight
those notes so the patterns didn't all blob. Nothing more special about those
notes unless you like the pattern more, I guess.
Teacher: Here is an example of taking
the 'shape' run at the beginning of the lesson and putting to a 3 note per
string scale shape.
Speed Lick 2 - Pattern 6
More three note patterns on the way.
3 Note Per String Patterns 3 + 6
Here comes the corresponding pattern to the lick. It is in 'pattern
Teacher: The number of each patterns merely
indicates which note of the major scale is the lowest note of that
Teacher: These patterns can be moved around the
neck. In this case the patterns are noted relating to the key of
Teacher: The way that the patterns are diagramed
here represent how they inter-relate to play the same set of notes in seven
3 Note Per String Patterns 2-5-1
Another example from last week taken through 'pattern 1'. Now in the key of
Speed Lick 1
Through Pattern 1
The pattern varies at the end. Look for the speed increment, again, built into
the lick. Practice that first and really be able to nail it before moving
Teacher: Always practice through and including
the first note of the next increment. Then add it.
Teacher: Here is the same run taken through
'pattern 6' starting on the fifth fret.
Speed Lick 1 - Pattern 6
The run is a C major run, named by the third note you play. Because, the
run starts on the sixth note of the major scale it will sound more like the
related minor scale, an 'A minor' run.
Teacher: Try to use the fingering
suggested to start out. Fingerings are always up to debate so find what works
for you, but at least try the fingerings suggested which stay pretty true to the
seven patterns presented
Teacher: You can invent your own increment
and then apply it string after string to create a personalized speed lick. Here
is a suggestion
Speed Lick 3
then I will take it through 'pattern 6'.
Speed Lick 3 - Pattern 6
The next run is interesting because it shows how a run which can sound to you
like a three or four note repeating pattern actually turns out to be a much
longer increment before your fingering starts to repeat on the next
Increments Run 1
Notice that the full increment is actually 'nine notes'. You may want to divide
this increment up into smaller sections to master it.
Teacher: The riff comes from pattern number
Teacher: Also, notice the picking ( D=down
Teacher: The increment has a pull-off in the
picking so that each increment starts with the same stroke. Simile means repeat
the previous picking
Teacher: Lets look at some two note per string
Pentatonic Patterns 6 + 2
Teacher: The trick to using these 'pentatonic'
patterns comes from the fact that they have two notes per string. Therefore, any
increment that you invent will have no difficulty
Teacher: I am naming the patterns from their '3
note per string' "sibling" shapes. Some may know these already, perhaps named
Pentatonic Patterns 5-1-3
Here is one 'pentatonic', or two note per string, increment
The first bar shows the increment. Then alternating a tremolo with the
increment. See last week's lesson to cover this idea in more
Increment 1 Across Neck
Then connect the increments across the
Increment 1 in
Pentatonic Pattern 6
Then apply it to a scale shape. In this case I changed the fingering from the
pattern to reflect how I chose to play the resulting
Teacher: These are in 'Pattern 6' Pentatonic.
Your standard 'box' pentatonic pattern. But, again, I started with a
coordinating 'geometric' pattern to get the speed up.
Teacher: Another pentatonic
Pentatonic Increment 2
This is a six note increment.
Pentatonic Increment 2
All alternate picking. If you chose to add pull-off or hammer-ons, make sure to
find the repeating 'increment' pattern.
Teacher: And one more...
Another six note pattern but demonstrating a different pattern across the
Teacher: Well, I hope there is something to keep
you busy. Soon to come more 'fret hand' stuff and some 'sweep'
Teacher: Thanks for tuning
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