Or a different one? Well, obviously being able to do it both ways is the best, but you know how it goes Extreme Pentatonics goes into Forums Search Forums Recent Posts. Frank Gambale — Speed Picking I also gave Gambales stuff a shot many years ago and gave up and stuck to Gilberts alternate-picking style. Over the years of playing, performing and teaching guitar, one of the biggest problems encountered is not with the left hand fingerings as much as with the right hand picking technique. I am going to try to buy Basic Training to see if it is as great as the others are, which it most likely is.
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I know, without a doubt, this course will help you break free from the tyranny of the pick!!! This opening section covers the most fundamental exercises of all, the scales. Mastering these is essential and helps strengthen crossing over the strings in both direction as 2-string sweeps. I demonstrate the main positions for both Major and Minor Pentatonic scales up and down the fret board in the key of A. These pentatonic shapes are very unusual and quite difficult to play evenly because of the wide spacing of the notes on certain strings but again, these are an essential element of mastering the Sweep Picking Technique and exhilarating to play once you get them up to higher tempos.!
Part 1c : Fundamentals - Triads. These shapes are a staple in the Sweep Picking world. These are the shapes that define the Sweep Picking technique for many who have adopted the technique into their own styles. Of course, Sweeping goes much deeper than these arpeggio shapes, but these shapes are a fun way to learn the extreme possibilities of the Sweep Picking sound because they cover all six strings.
When I found these shapes I knew I had discovered a breakthrough on the guitar. What led me to these shapes was a huge desire to play two-octave arpeggios at virtually any speed and easily. This was previously impossible using alternate picking technique. These shapes really broke me away from the conventional shapes for arpeggios and are the basis of what made my Sweep Picking Technique a revolution.
You can learn them too right here, right now and break through for yourself to limitless speed, fluidity and ease that this incredible Sweep Picking Technique enables you. I am very excited to share these with you. The chromatic Sweep Picking ideas in this section are a gateway to a level of fluidity of picking motion untapped before. I am positive these will inspire you to explore your own Sweep Chromatics.
My desire is to inspire!. This section shows you how to develop Sweep Picking ideas based around the standard scale shapes by creating motifs and patterns that incorporate Sweeping. These idea too are part of the last 30 years of development of the full potential of the Sweep Picking Technique. For many, many years my focus was on re-fingering standard scale shapes to accommodate the Sweep Picking.
This created a lot of breakthrough shapes for the pentatonic scales that are now standard Sweep Picking shapes. Throughout the last 30 years of my Sweep Picking development I began to realize that I could pretty much Sweep Pick any shape. Musical ideas come from within the scale shapes and experimenting with the tonal possibilities of the scale.
I realized that it was a lot of fun coming up with musical lines within the standard scale forms. That is the essence of this section. Triads come in all manner of shapes and sizes. From 2-string 3-note triads all the way to 3-octave full sweeps across all six strings. They are a very musical device and well worth diligent study. They can be used over all types of chords and several different triads can be super-imposed over the same chord. This section is all about taking these triad shapes and discovering how to use the Sweep Picking Technique to zoom through them effortlessly, smoothly and incredibly efficiently.
These ideas will be very valuable to you and continue to help you understand the inner workings of the Sweep Picking technique in a very musical setting. In reality, any chord shape can be turned into a Sweep such as major add 2 and minor add 2, 7th chords, 9th chords, 11th chords, 13th chords, altered chords, you name it. This section is another eye-opener. I wanted to make the connection between the chord and the single line. In this section they come together.
You will quickly be sweeping through shapes that you have, up until now, probably only thought to strum. I demonstrate how to enlarge small ideas that will inspire you to explore what is possible with this marvelous Sweep Picking Technique.
The beauty of symmetry is that the phrase usually starts inside, goes outside and then returns inside. They are a lot of fun and there are limitless patterns. I know you will get a lot of this section as you probe deeper into the possibilities that the Sweep Picking Technique offers.
Remember, this technique is the gateway to your technical freedom. The Sweep Picking technique breaks down the physical barriers preventing you from reaching your full potential.
Speed Picking - Frank Gambale
Gardakus Move your pick at a constant speed to ensure the notes are evenly spaced. Once you are comfortable with this shape you can apply the same approach to minor, suspended and diminished-seven arpeggios. Here we utilize two-string sweeps with pentatonic shapes. Pay special attention to the picking directions in both the ascending and descending fragments. This piece is in the key of A minor.
5 Pentatonic Sweep Picking Patterns in the key of A