Tommaso Varvello

Sixth Gear: A Guitar

Technique Primer
Contents
i
A Note On Music Practicing......................ii
How To Use This Book...............................iii
Chapter 1 - Alternate Picking
Picking on a Single String.................................5
Picking on Two Adjacent Strings......................9
Multiple String Sequences...............................14
String Skipping................................................21
Artist Focus.....................................................27
Final Etude: Pick Your Destiny.......................33
Chapter 2 - Legato
Warm Up Exercises.........................................37
Hammer/Pull Sequences..................................40
Scalar Runs......................................................45
Hammer Ons From Nowhere..........................50
Advanced Applications....................................52
Artist Focus.....................................................57
Final Etude: Smooth And Silky.......................63
Chapter 3 - Sweep Picking
Three String Sweeps........................................67
Four String Sweeps.........................................72
Five-Six String Sweeps...................................77
Economy Picking.............................................83
Artist Focus.....................................................87
Final Etude: Like A Janitor..............................96
Chapter 4 - Tapping
Single String Tapping....................................100
Tapping on Adjacent Strings.........................106
Combining String Skipping & Tapping.........112
Advanced Applications..................................117
Artist Focus...................................................120
Final Etude: Id Tap That...............................126
Acknowledgements...............................cxxix
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Section 4: String Skipping
Ex. 1: G major harmonized string skipping triads
The first exercise of this section features a string skipping sequence based on the triadic harmonization of the G major scale.
Familiarize yourself with the major, minor and diminished shapes as they repeat themselves during the course of the sequence.
The intervallic pattern in which the triads are sequenced is always the same.
Track (31) - 130 bpm
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Ex. 2: C major pedal tone sequence
This exercise features a C pedal tone against which youll play the C major scale, descending before ascending through the scale while
keeping a high B as pedal note. Work on accuracy while string skipping, as that will be the most challenging aspect of the exercise.
Also be sure to keep alternate picking throughout the sequence, as this will get you to work on inside and outside picking.
Track (32) - 110 bpm
Ex. 3: B minor pentatonic intervallic lick
This lick, based on the B minor pentatonic scale, features some intervallic string skips and some position shifts. The exercise is short but
requires a good amount of accuracy, so try familiarizing yourself with the fingering that works best for you before applying speed.
Track (33) - 130 bpm
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Ex. 4: F# diminished seventh arpeggios
This sequence is based on a diminished arpeggio shape repeated ascending up the fretboard in jumps of a minor third. The notes are arran-
ged to develop accuracy and precision in jumping from the high E to the G string, skipping the B string. Try applying this concept to other
repeating shapes and scales, such as the whole tone scale.
Track (34) - 140 bpm
Ex. 5: G major ascending quintuplet run
This run, based on the G major scale, features a quintuplet rhythm subdivision, while the notes are arranged to be played on the high E
and G strings, again skipping the B string. The sequence is easier to play than it might look, as the shapes ascend through a G major
scale, starting from the B note in the first bar.
Note that the last bar is slightly different from the others, as it is designed to end the sequence.
Track (35) - 130 bpm
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Ex. 6: A major ascending harmonization in sixths
This sequence is based on the A major scale harmonized in sixths and is meant to be played ascending through the neck on the B and D
strings. The hardest part will be refraining from sliding the notes into each other, but maintaining strict alternate picking throughout the
exercise. Try and get familiar with how the shapes relate to the chords in the harmonized A major scale, then apply this concept to other
scales.
Track (36) - 100 bpm
Ex. 7: B minor arpeggio sequence
This sequence is a neoclassical inspired arpeggio pattern in B minor. It will prove a challenge both with its fingering and with the picking
pattern it requires. The arpeggio is repeated twice before concluding the sequence on an ascending Bm7 arpeggio with 9ths added after
each arpeggio note (last bar). Practice slow and try palm muting some of the notes to achieve the best clarity possible.
Track (37) - 100 bpm
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Ex. 8: G minor neoclassical arpeggio
This arpeggio, influenced by neoclassical music, is based around the G minor scale, with the added maj7 on bar 4, thus changing it into
the G harmonic minor scale. Again, fingering and picking consistency will be the areas to work on.
The sequence finishes on a mysterious sounding Gmmaj9 chord.
Dial in a clean tone and work on maximum clarity and precision before tackling the sequence at the recorded speed.
Track (38) - 110 bpm
Ex. 9: G major, C major, F major open triads harmonizations
This exercises is comprised of three mini exercises based on a open triad arpeggio sequence, harmonized in three different major keys:
G, C and F.
Open triads are triads where the third has been transposed an octave above, thus sounding less cluttered. Theyre widely used by vituoso
guitarist Eric Johnson. The three exercises are all meant to be played on different string sets: 6-5-3, 5-4-2, 4-3-1.
Track (39) - 100 bpm
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Ex. 10: C major harmonized arpeggios with added 9ths
This sequence features a repeated pattern of R, 5th, 9th, 3rd and 7th applied to all chords generated by the harmonization of the C major
scale. The sequence will be a test for your accuracy in picking through strings, and is meant to be played on the top five strings.
Spend some time isolating the shapes and practicing them singularly before linking them all together.
Track (40) - 100 bpm
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The etude is in the key of B minor, and the tempo is 155 bpm. The chords written on top of the music follow the rhythm guitar track.
You should mantain strict alternate picking throughout the etude, except when otherwise notated (slurs in bars 40 and 42).
Bars 1-9: The Intro section consists of string skipping pedal tone sequences that revolve around the Bm, G and Em chords. Use light
palm muting on the pedal tones to achieve a more punchy sound, and work on keeping the pick movement as minimal as possible.
Bars 10-13: The first solo section opens up with a bend from the b7 to the R of the B5 chord. The subsequent run ascends for two
beats before descending through the B aeolian scale horizontally across the fretboard, finally landing on the b7 of the F# chord in bar
13.
Bars 14-17: Here the rhythm subdivision changes from semiquavers to quaver triplets, so be sure to play this passage with the correct
rhythmical intention. The lick is composed of wide intervallic jumps up and down combined with slides, and will take you from a
low F# all the way up to a D more than two octaves higher than the starting point. This type of line resembles Carl Verheyens appro-
ach to soloing, so check him out if you want to further explore this concept.
Bars 18-25: This eight bar sequence is inspired by some of John Petruccis long lead lines, and outlines several different chords. It
starts with a Bmadd6, then moves to A#dim (bar 19), Dmadd6 (bar 20), F#m7 (bar 21), Bm9 (bar 22-23). The final two bars consist
of an repeated rhythm figure around the D major scale (bar 24) and an intervallic pentatonic run in bar 25.
Bars 26-31: Heres your first chance to breathe, as this is the Theme section of the etude. It is a melodic line that contains some
pushes and quaver triplet figures, but it shouldnt prove too complicated. Watch out as the section is only six bars long, and the last
line leads directly into solo 2.
Bars 32-35: The second solo section opens up with a B aeolian line with several chromatic notes added. It has been composed by sim-
ply filling in the gaps between the diatonic notes. At this tempo, adding chromaticism can be a nice effect, and this device doesnt so-
und out of place at all when used correctly. Let ring the two double stops in bars 34 and 35.
Bars 36-39: The first two bars of this shred B aeolian line use the same rhythm sequencing (two beats long pattern), albeit a slight
variation on beat four of bar 37. Watch out for bar 38, as the line ascends on beat one before jumping down to another string. Apply
palm muted as notated in bar 39, and get ready for the challenging next part.
Bars 40-43: Here things really get serious. This four bar sequence has been put together by apply the same concept to the Bm and D
chords. Youll play a string skipping ascending arpeggio followed by sequence that starts in third interval skips before ascending and
descending through the scale. Take note of the slurs in bar 40 and 42.
Bars 44-47: The final four bars of Solo 2 consist of a two bar sequence repeated and applied to different chords. This part starts with
a rhythmical displacement lick around the Bm triad (pattern of three semiquavers repeated across the beats) before moving to a doub-
le picking lick around the chord tones. The same concepts are applied in bars 46-47 around the F#m triad.
Bars 48-53: The Theme returns. The only minor difference from before can be found in bar 53.
Bars 54-62: This is a reprise of the Intro. Watch out for the fast Bm pentatonic line in bars 60-61. End the etude on an evil sounding
Bsus2 chord and raise your metal horns in the air.
Final Etude: Pick Your Destiny
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Track (50) - 155 bpm
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