![]() ![]() Once you have these four isolated one-octave patterns down, check out the longer two-octave runs in Ex. Alternatively, you could dispense with the second upstroke and just pull off to the note on beat four in each of these bars. Pay careful attention to both the fingering and picking prompts indicated for these minor seven arpeggios, and notice in each case that, on the descent (across beats three and four), we’re doing two quick, consecutive upstrokes in a row on the B string. 4a, we begin with a downstroke sweep across a root-position Gmaj7 arpeggio (G B D F ) from the D string to the high E, then pick the octave G root note with an upstroke, pull off back to the seventh, F, and continue the upstroke sweep across the B, G and D strings back down to the G root.Īs before, the same approach is then applied to the subsequent diatonic seventh-chord arpeggios, with a slide up to the next form and a slight alteration for the three minor sevens (Am7, Bm7 and Em7), for which we’re playing the seventh of the arpeggio on the B string instead of the high E, which affects the fret-hand fingering and sweeping structure. ![]() Switching to the key of G, our next two examples illustrate similar approaches applied to an arpeggiated chord scale using the G major scale’s diatonic seventh chords, first across the top four strings, then across the bottom three. Generally, their approach to sweeping was to employ the technique sparingly, playing smaller yet denser single-octave seventh-chord arpeggios, which consist of a root, third, fifth and seventh, and sweeping across just three or four strings, rather than the two-or three-octave triadic stacks typical of modern rock and metal sweeps. You can hear these masters sweep arpeggios on songs like Les Paul and Mary Ford’s “The World Is Waiting for the Sunrise,” Tal Farlow’s “Taking a Chance on Love” and Barney Kessel’s “Here’s that Rainy Day.” But in fact, sweep-picking was pioneered back in the 1950s by jazz guitar greats like Les Paul, Tal Farlow, Johnny Smith and Barney Kessel, who used the technique with four-note seventh-chord arpeggios, such as major seven, minor seven and dominant seven, played within one octave. Many sweep-happy rock and metal electric guitar players use the technique primarily with triadic (root-third-fifth) arpeggios, such as straight major and minor, stacked in octaves. ![]() Also, try reversing the order of the subdivisions, starting with 16th notes, then “downshifting” to eighth-note triplets, then straight eighths. Practice this exercise slowly at first and with a metronome to ensure accuracy. Here, the challenge lies in your ability to transition smoothly from one rhythmic subdivision to the next. ![]()
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