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  • Frank Gambale Monster Licks Speed Picking PDF

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    Pety Montiel
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    Frank Gambale Monster Licks Speed Picking.pdf

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    94 views29 pages

    Frank Gambale Monster Licks Speed Picking PDF

    Uploaded by

    Pety Montiel

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 29
    lla and welcome co my video on my gasiar Lechnique called "sweep! or "speed picking This video is exciting because it enables the viewer to sce and hear how effortless this Technique cam be. Most guitarits are anstious iprove their picking technique. Pieking problems we one of the reasons that the twe-haid lechnique became 69 populae Wheo everyune was doing the two-hand thing | held tight to my pick, dewemineal to make @ work. I decided fe rethink’ and rearcnge some of the aut of date shapes (of traditional seaiss and arpexuios to shee some light o0 new possibilities For the pick, “The techrique boils down to a concept of odd and even numbers of nates per seeing Whenever you play’ the lick finan law to high ar hugh to Jow, playing only in one dlzcctiom, you need an jodi number of notes per sirlag, When you want to change direction, you need an even number of notes per sting INTRODUCTION | need an | want to nee pet the enly ane Luse far every sale inevery pen tion. Campare that to what you may be play: ing today. It's senseless to me, to have your sighe hand play something. different for every scale in. every sition because of the inconsistencies of the trade ‘tonal scale patterns. Of course, shere isa light rade off sample 1 denonstrates a simple major seale I : This shape, in terms of the picking patrn, is Example 1 GMajoc «12446671 and slight bending of the niles, On the high E sing ‘hore are only tro neaes, which means we skip one and we have four nates on the botiom. This means adding a chromatic passing tooe ora diatonic nate hy skipping the toot as in Fxample la which is exactly the sime as Bxairaple 1 except for the last4 noses. Eeamples 1b, 1 and Id are examples of different scale types using exactly the sare picking pattern seen “author's Note: I don't like t0 stifle guitarists aprons ine putting. Bryerings on scales. People always differ an fingering choices, Example tb Corian Mode siabaasebey (g- 1 i gm F = - =_— ny nvm — pester Example le Gyan Wscale «1 asta seb» saa re a Example 1d Bb Dindeished scale (1849-448 be Mr ar ‘This concept isa relief to me, Naw I can safely avoid all of the picking peablems assocaied with having inconsistent numbers of nates on strings for every sale. Pentatonies - No crell lool st some Pentatonic shapes & sweep picking, Example 2 isaB Minor Pentatonic (1 ba 4 5 67 + ee 4 - —= ny 4 yp 4 ee a => 2 E z Example 3 is sequence taking. N84 Notes of 1 mines pentatonic ata time, Pentatonic Sequence ( 8 Minor ) Sse wnoy (oe yey woo Pe f = a Sbespteeteien) f : se : 5s Ta FL os silteeetr ae a a = eh Mam r miyy ot y Zoe seeeies ea Se : Wi wn ie on =| Example 3a Example 4a, 38, 3 ing the Téth newest and 3¢ are taking the sare exarhe and displace cormnike#| mace snteresting rtheniall. iW 9 = YAO yee Woe il ete wn ny | ME em E = ir Ea Geet Ae Combining Pentatonics Frample 3¢ —combines2pentatonies Amines and Bini he hey G-major ower an. A ain 7 chon a barencn =F — te pet : > =—se- re == te —— aventyant apr an hiv nn ty pies Dive vey Example 3f—comhines Sminor pematonice (A.B and E ain wy =| em YY yy . : ‘es ; Ss 774 10") o1G major over an A mic ? chord vyney avy é pti ier = pepeeeee Ss Ss eae re i eae rr Se — 7 eee = sey wel 16 ARPEGGIOS are by far the most exciting anpest of this technique for me. “The stindaed ampeggio: shapes are generally cut of date, But at the same tine, its incredible how by changing fas 1 single nate, fas in Example 4a for instance, the T¥ maj? ‘rpepgio) al | changed was the "A? note on the 1D string Tih Wet which in a standard Major 7 arpepgio would have Example 4a Dmj ciaea been the 12th fieton the ‘A' sting. Changing this one rove enabled the sweep paticen to emerge. ne more

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