Technique Columns

This issue, I continue with the theme of knowing and outlining the chord tones under scale runs. Sometimes a guitarist can shred, but if there’s no melodic structure there, it’s hard to take anything away from their playing. Melodies that you can sing are much easier to remember than fast scale runs, and a good melody will always come from chord tones. An amazing solo will usually have a combination of both.

Knowing where the chord tones sit underneath each scale will allow you to resolve phrases easily and not fall into the trap of running up and down scale patterns. Remember: arpeggios are your friends.

EXERCISE #1

Exercise #1 outlines all of the E form chords of the A minor scale. There are no sharps or flats needed throughout the entire exercise, because it’s essentially just like playing all the white keys on the piano. Each chord has been arpeggiated to fit under the three‑note‑per‑string modal patterns, which are so useful for playing fast scale runs.

The idea here is you can learn and recognise all the chord tones when playing fast runs. That way, you can resolve phrases easily to a chord tone and better come up with your own unique scale runs.

Try playing through these 16th note arpeggios at 120 beats per minute. If that’s too fast, either slow down the beat or change the note value to an eighth note. If this is still too difficult, try concentrating on the minor 7th shape.

All up, there are only three shapes to learn – the minor 7th, major 7th and minor 7 flat 5 or half‑diminished shape. The ‘half‑diminished’ name refers to two minor third intervals with a major third on top, instead of a full‑diminished chord, which is three minor thirds stacked on top of each other.

EXERCISE #2

Exercise #2 outlines the three‑note‑per‑string scale runs that our arpeggio shapes from Exercise #1 are based upon. To get these runs fast, I’ve used economy or sweep‑ picking patterns across the strings. If you have never played them this way before, I recommend taking the time to retrain your picking hand.

When ascending through the scale, it’s best to pick down‑up‑down on each string. Let the pick fall to the next string after every three notes, or each time you move to a new string. This is called economy picking, as it’s the most economical way to pick. We use the same technique for sweep arpeggios, with how you hold and how lightly you strike the string. Some light palm muting also helps out.

When you descend back down the scale, switch to an up‑down‑up picking pattern. I have mapped out A Aeolian, B locrian, D dorian and E Phrygian, but it would be most beneficial to map out all of the modes and play it as one complete exercise.

EXERCISE #3

Exercise #3 joins together the ideas shown in Exercises #1 and #2. The first two bars outline the three‑note‑per‑string scale pattern of the C major scale. The economy picking hand pattern is notated as well. The scale ascends, resolving on the tonic for an eighth note value, and then descends back down two octaves to the tonic again.

Bars #3 and #4 outline the chord tones that sit beneath this three‑note‑per‑string pattern. I have used sweep picking, with hammer‑ons and pull‑offs to play through the arpeggio. The note value has been doubled to eighth notes, but if you are able to, it would be best to play them as 16ths. It may take a bit of work to get them up to speed, but I have faith you’ll get there in the end.