SORT YOUR PICK­ING PT2 Econ­omy pick­ing

Guitar Techniques - - CONTENTS -

In part 2 of his three-part se­ries, Phil Capone shows you a fast, ef­fi­cient pick­ing style that’s not all about shred!

The tech­nique of econ­omy pick­ing, where ad­ja­cent strings are picked with con­sec­u­tive down or up-picks, has been around longer than you might think. Django Rein­hardt used econ­omy pick­ing to cre­ate his in­cred­i­bly fluid so­los. The late, great Les Paul also used econ­omy pick­ing as part of his vir­tu­oso tech­nique. And let’s not for­get that jazz gui­tarists have been play­ing sweep picked arpeg­gios since the days of be­bop. But it was dur­ing the 80s and 90s that econ­omy and sweep pick­ing be­came the tech­niques for cre­at­ing full shred so­los. Un­doubt­edly one of the cat­a­lysts for this ob­ses­sion with speed and gym­nas­tic abil­ity was the solo Ed­die Van Halen played on Michael Jack­son’s Beat It. The sin­gle dom­i­nated the air­waves on its re­lease, si­mul­ta­ne­ously mak­ing Van Halen a house­hold name and mak­ing a lot of ses­sion guys very afraid. His solo­ing py­rotech­nics pushed the en­ve­lope of what peo­ple thought was pos­si­ble on the guitar and, of course (for bet­ter or worse), tap­ping be­came the ‘in’ thing to do and an easy way to im­press.

Don’t switch off if you’re not a fan of re­lent­less sweep pick­ing as that’s def­i­nitely

not what we’ll be fo­cus­ing on here. The idea is to ex­plore some of the prin­ci­ples of econ­omy pick­ing that you may or may not have tried al­ready; pre­sent­ing them in re­al­is­tic and prac­ti­cal sce­nar­ios to il­lus­trate how ef­fec­tive and mu­si­cal this tech­nique can be. Ideally, this is an op­por­tu­nity for you to experiment and cherry pick; to in­cor­po­rate some of these con­cepts into your ex­ist­ing tech­nique, rather than feel­ing you’ll need to re­think your whole ap­proach. Even if you don’t use econ­omy pick­ing as the main­stay of your tech­nique, it’s a great thing to prac­tise since it will im­prove your pick­ing con­trol while si­mul­ta­ne­ously stream­lin­ing the co­or­di­na­tion be­tween your pick­ing and fret­ting hands. So, it’s a win-win sit­u­a­tion!

The ex­am­ples in this ar­ti­cle have been grouped to specif­i­cally build your tech­nique grad­u­ally. Ex­am­ples 1-4 fo­cus on econ­omy pick­ing across two strings only, al­low­ing you to build the tech­nique grad­u­ally and ad­just to the de­mands of play­ing con­sec­u­tive down and up-picks with­out los­ing rhyth­mic con­trol. In ex­am­ples 5-8 you will be ex­pand­ing your tech­nique across three strings, in­clud­ing 7th arpeg­gios (maj7, m7 etc) and learn­ing a rad­i­cal new shape for the mi­nor Pen­ta­tonic scale. In ex­am­ples 9-12, four-string pat­terns cover tri­ads in root po­si­tion, triad in­ver­sions, plus some cool tri­adic sub­sti­tu­tions are used to cre­ate fu­sion flavours. Ex­am­ples 13-17 deal with five-string arpeg­gios and licks, plus a cou­ple of in­valu­able six-string scale pat­terns.

Ex­am­ple 18 is your fi­nal work­out. In­stead of a pre­dictable me­tal-style pay-off, I’ve opted for a good ’ole shuf­fle blues with a head and solo that il­lus­trates how ver­sa­tile (and mu­si­cal) econ­omy pick­ing can be (it dove­tails per­fectly with Richard’s cover fea­ture too!). As with last month’s al­ter­nate pick­ing ar­ti­cle, re­mem­ber the only way to master any tech­nique is to in­cor­po­rate it into your daily rou­tine, us­ing a metronome at all times.

Don’t Switch off if You’rE not a fan of rE­lEnt­lESS SwEEP Pick­ing aS that’S DEf­i­nitElY not what wE’ll bE fo­cuS­ing on

In the sec­ond in­stal­ment of our three-part se­ries on im­prov­ing your pick­ing, Phil Capone shows how to de­velop a fast and ef­fi­cient econ­omy pick­ing tech­nique that’s not all about shred!

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.