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Frank Gambale Technique Book 1 Pdf Download 6,3/10 644 votes
Picking Ridiculous Sweep for ‘glide over the and get more,notes per stroke Speed strings or many years I devoted myself to perfecting my sweep picking -a technique that can be used in place of (or along with) alternate picking to develop considerable use sweep picking speed. Many players licks without realizing how far this approach can be taken. The most common flatpicking method uses strict alternate strokes (down, up, down, up); however, some players opt for a less articulated followed effect, where the picked note is by hammer-ons or pull-offs. In sweep picking, the same pick stroke is used to play from two to six notes. Depending on the phrase, some alternate picking may also be required. The economy of sweep picking lets you play a lot of notes with minimal pick movement, making it easier to play at high speeds.
IIIE mANIuiAMn, u[ IECIINIIIIJE noon ll INCLUDES 70 MINUTE CASSETTE! THE ESSENTIAL SOLOING THEORY COURSE EOR ALL GUITARIS! The Frank Gambale Technique Book II The Essential Soloing Theory Course for All Guitarists. By Frank Gambale Guitar Book & CD Item: 00-MMBK0003CD.
1, an A major scale fingering. Because it has three notes per string, there is a tendency to give it a triplet feel, so be sure to practice it in groups of two or four notes per beat. At first, practice only the ascending By Frank Gambale VOL.3 NO.6 / HOW TO PLAY GUITAR 77 notes. When you’re comfortable with that, work on the descending sequence; many players find ascending sweeps feel more natUral. When sweep picking, remember: 1.
Keep the notes as separate as possible-almost staccato (short) at first, especially when crossing strings. Newcomers to sweep picking tend to run the notes together.
Make sure your right hand is executing a single movement when crossing strings, not two successive strokes. Practice with a metronome or drum machine, and make sure the notes are clean and even, Be critical and honest when evalu- Ex.
1 ating yourself. It’s harder to sweep at slower tempos, so start with medium ones: For sixteenth-note patterns, the quarter-note should be set between 60 and 100. The odd/even rule Sweep-picking licks require an odd number of notes per string. 1, notice that there are three notes per string going up and three notes per string going down. To reverse the direction of the sweep stroke in a line, you need an even number of notes on the string where the reversal takes place. The two consetutive notes on the first string in Ex.
1 facilitate the change of direction. The sweep pattern in this example is critical, since practically any scale (and its inversions) can be fingered using three notes per string. This vastly simplifies the number of patterns you need to know.
More important, it eliminates problem spots in conventional scale patterns, where two notes per string occur in certain places. The ideal scheme features three notes on the E, A, 0, G, and B strings, and two notes on the high E, which allows you to reverse pick-stroke direction for a descending sweep. 2 is a sweep configuration for an A pentatonic scale; notice that the sweeps cross three strings. The odd/even rule still applies. Since there are only two notes on the sixth A major scale nvvnvvnvvwvd Ex. 2 A minor pentatonic A 1. D I z * I II i Ex.
3 I - 4 1 n n Amaj7 -2 4 4 3 l:4 2 m I a e. ‘ =427*s v n n n v n n arpeggio n. / VOL.3 v NO.6 I 4 v v n v v v n? I Am7 arpeggio HOW TO PLAY GUITAR 3 A:,. - llnnnvnnnfivv Ex. 4 78 m 2 v n v v v +I II string, begin with an upstroke so that you can sweep onto the fifth string and set things up for the rest of the scale.
The entire pattern goes: ‘Itvo notes on the sixth string, three on the fifth, one on the fourth, three on the third, and one on the second. There are two notes on the first string for the direction change.
This example requires quite a bit of left-hand stretching; allowing your left-hand thumb and fingers to move freely will help you reach the notes. For example, once you play the fifth-string D, release it for the E, and then release again for the G, and so on-instead of stretching for notes, just move your hand. These left-hand fingerings are very different from conventional scales, Ex.5 but the right-hand and effortless. Torrent football manager 2008 indir. Motion is logical, quick, Harp on it Arpeggio shapes are probably the most exciting aspect of sweep picking-once you get a feel for them, they can be played at mind-boggling speeds. 3 is a very useful Amaj7 arpeggio fingering from which many others can be derived.
For example, to convert it to an A7 pattern, simply lower each G# a halfstep. For an Am7 arpeggio, lower the C#s and G#s a half-step. The sweeps in Ex. 4 move across three and four strings. If you count each sweep as a single stroke, then each two-octave arpeggio requires only six pick strokes-in other words, six strokes are used to articulate 16 notes (compared to 16 strokes for 16 notes with conventional alternate picking). Ridiculous speed with minimal right-hand movement. The simple triadic arpeggio in Ex.
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Frank Gambale Technique Book 1 Pdf Download 6,3/10 644 votes
Picking Ridiculous Sweep for ‘glide over the and get more,notes per stroke Speed strings or many years I devoted myself to perfecting my sweep picking -a technique that can be used in place of (or along with) alternate picking to develop considerable use sweep picking speed. Many players licks without realizing how far this approach can be taken. The most common flatpicking method uses strict alternate strokes (down, up, down, up); however, some players opt for a less articulated followed effect, where the picked note is by hammer-ons or pull-offs. In sweep picking, the same pick stroke is used to play from two to six notes. Depending on the phrase, some alternate picking may also be required. The economy of sweep picking lets you play a lot of notes with minimal pick movement, making it easier to play at high speeds.
IIIE mANIuiAMn, u[ IECIINIIIIJE noon ll INCLUDES 70 MINUTE CASSETTE! THE ESSENTIAL SOLOING THEORY COURSE EOR ALL GUITARIS! The Frank Gambale Technique Book II The Essential Soloing Theory Course for All Guitarists. By Frank Gambale Guitar Book & CD Item: 00-MMBK0003CD.
1, an A major scale fingering. Because it has three notes per string, there is a tendency to give it a triplet feel, so be sure to practice it in groups of two or four notes per beat. At first, practice only the ascending By Frank Gambale VOL.3 NO.6 / HOW TO PLAY GUITAR 77 notes. When you’re comfortable with that, work on the descending sequence; many players find ascending sweeps feel more natUral. When sweep picking, remember: 1.
Keep the notes as separate as possible-almost staccato (short) at first, especially when crossing strings. Newcomers to sweep picking tend to run the notes together.
Make sure your right hand is executing a single movement when crossing strings, not two successive strokes. Practice with a metronome or drum machine, and make sure the notes are clean and even, Be critical and honest when evalu- Ex.
1 ating yourself. It’s harder to sweep at slower tempos, so start with medium ones: For sixteenth-note patterns, the quarter-note should be set between 60 and 100. The odd/even rule Sweep-picking licks require an odd number of notes per string. 1, notice that there are three notes per string going up and three notes per string going down. To reverse the direction of the sweep stroke in a line, you need an even number of notes on the string where the reversal takes place. The two consetutive notes on the first string in Ex.
1 facilitate the change of direction. The sweep pattern in this example is critical, since practically any scale (and its inversions) can be fingered using three notes per string. This vastly simplifies the number of patterns you need to know.
More important, it eliminates problem spots in conventional scale patterns, where two notes per string occur in certain places. The ideal scheme features three notes on the E, A, 0, G, and B strings, and two notes on the high E, which allows you to reverse pick-stroke direction for a descending sweep. 2 is a sweep configuration for an A pentatonic scale; notice that the sweeps cross three strings. The odd/even rule still applies. Since there are only two notes on the sixth A major scale nvvnvvnvvwvd Ex. 2 A minor pentatonic A 1. D I z * I II i Ex.
3 I - 4 1 n n Amaj7 -2 4 4 3 l:4 2 m I a e. ‘ =427*s v n n n v n n arpeggio n. / VOL.3 v NO.6 I 4 v v n v v v n? I Am7 arpeggio HOW TO PLAY GUITAR 3 A:,. - llnnnvnnnfivv Ex. 4 78 m 2 v n v v v +I II string, begin with an upstroke so that you can sweep onto the fifth string and set things up for the rest of the scale.
The entire pattern goes: ‘Itvo notes on the sixth string, three on the fifth, one on the fourth, three on the third, and one on the second. There are two notes on the first string for the direction change.
This example requires quite a bit of left-hand stretching; allowing your left-hand thumb and fingers to move freely will help you reach the notes. For example, once you play the fifth-string D, release it for the E, and then release again for the G, and so on-instead of stretching for notes, just move your hand. These left-hand fingerings are very different from conventional scales, Ex.5 but the right-hand and effortless. Torrent football manager 2008 indir. Motion is logical, quick, Harp on it Arpeggio shapes are probably the most exciting aspect of sweep picking-once you get a feel for them, they can be played at mind-boggling speeds. 3 is a very useful Amaj7 arpeggio fingering from which many others can be derived.
For example, to convert it to an A7 pattern, simply lower each G# a halfstep. For an Am7 arpeggio, lower the C#s and G#s a half-step. The sweeps in Ex. 4 move across three and four strings. If you count each sweep as a single stroke, then each two-octave arpeggio requires only six pick strokes-in other words, six strokes are used to articulate 16 notes (compared to 16 strokes for 16 notes with conventional alternate picking). Ridiculous speed with minimal right-hand movement. The simple triadic arpeggio in Ex.