An Introduction To Sweep-Picking V 2.0
(06 Apr 02)
Adding Hammer Ons / Pull Offs
Now that we had exercises on 3,4, 5 and 6 strings, letīs move on to variations that make it more interesting. One common thing to do is to add hammer ons and pull offs in between or on the top of the arps, like in the following examples. Take each example by itself, practise it in different areas of the fretboard and try adding different notes... remember accuracy and time!
Letīs go through those licks/exercises one by one...
7a
The first one is an Aminor arp involving hammer ons & pull offs, similar to the intro of "Eugeneīs Trick Bag" from the Crossroads-movie.
7b
This is one I use a lot. The chords here are actually Am and G, but you initially play an Asus 2, hammer on to the third (C), pulling off to the 2 (B) again. Same with the G Major chord, where you hammer from the 2 (A) to the third (B) and then go back. Move that one through a longer chord sequence, like Am-G-F-Em-Dm-C or something like that.
7c
This one is similar to what Richie Kotzen used to do on his debut album, the way he plays a Cmajor Arp. The third on top (E, 12th fret) involves a stretch, be careful when going for that one!
7d
This one is another popular way to play a Cmaj-Arp. Again, play it in different areas of the neck!
7e
This is similar to an arp I used in my song "Deja Vu". You can hear the example by clicking on the links below (Audio files taken from an early demo-version).
7f
A variation of 7e
7g
This is another one similar to another arp in "Deja Vu". Click on "Deja Vu Arp2" to hear it (Audio files taken from an early demo-version).
Click this LINK to hear a lick similar to 7e from my song "Deja Vu"
Click this LINK to hear a lick similar to 7g from my song "Deja Vu"
One common problem that a lot of my students mention to me is that when you fret a note on the G-String and then take it away to move it eg. to the high E-string, there is some unwanted noise from the G-String ringing, coz you are making a very soft kinda pull-off on that string by taking it away (especially evident when using high gain-sounds).
The way to avoid that is either a) using less strength and taking the finger away from the string more carefully or b) muting that string after fretting it with the tip of another finger, i.e. the one that frets a note on eg. the B-string next...
Thatīs why I recommend to use moderate- or high-gain-sounds in between to make sure you are not causing any unwanted noises...
OK, here we had a bunch of exercises. Experiment, let them inspire you to find other exercises and licks.
Thatīs it for now. I hope you found this interesting and useful, and I hope it will help you to get into sweep-picking. I will repeat myself again: work up to speed gradually, pay attention to timing and accuracy, use a metronome, make sure the strings donīt ring into each other. Make up your own exercises, try to come up with different possibilities.
Most importantly, have fun and use the technique and licks in a musical way... use them when jamming to a backing track or with the band, include them into your regular style. Use them equally to normal technique. Donīt just sweep up and down all the time, use it in between while playing actual MUSIC.
And donīt forget that speed only really comes to peopleīs attention when used in combination with melodies and slower parts. If you play lightning-fast sweeps up and down the neck for 2 minutes without a break, people will most likely get bored soon. But if you i.e. play a great melody or passage and all of a sudden throw in a cool sweep (which, by the way is a wonderful tool to get from one fretboard area or octave to another), it will grab peopleīs attention way better and stand out more...
Have fun!
And remember what Steve Vai said "5 good reasons not to practise: 1.There 2.Are 3. No 4. Good 5. Reasons"
If you have questions or wanna discuss the content of this article go to the forums.
"Deja Vu ( Good To Be Alive )" by Eric Vandenberg
Copyrights 2001, 2002 Talking Hands Music
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