SON te pe are RR Ee et A hd aa aa 5 os Y Te Ts vasContents Hard hock ——e Arpeggio 5 dt Studies ti Stade tt a 1 = ’ Lo) | c 4 L G3 ry a Li} i 4 Etude #5 Stake a OY Etucte OF 20 Etade #8 2h Etude wo 22 Etude #10 24 Este #1F 26 Etude #12 28 Stade tts 29 Etude did BT Sendew?S 32 Motarion Legend LEcwanin Pfs SHAn arpeggio is the consecutive playing of the notes in any given chord. They are an invaluable part of harmony in that they are absolute chord statements, and in improvising you can’t go wrong with the right arpeggio over the right chord! [ chose to emphasize a variety of techniques with simple harmonic structures. With the guitar, there are so many possibilities that as a teacher I stress a wide range of technique with basic harmony so that any student can more easily express his or herself. As more harmonic principles are learned, these techniques can be readily applied or adapted to create an even greater range of stylistic approaches to the instrument. In this set of etudes, you will find sweep-picking patterns, arpeggios in fifths, diatonic triads, embellishments, reharmonization ideas, tremolo picking, triad-stacking, three octave patterns, single-string ideas, pedal-tones, double-stops and more! Practice slowly with a metronome, and take it wherever you can - best of luck - Michael! Fath Spring, °91Etude #1 ye This etude incorporates a "barre form" sweep technique in sixteenth note rhythms. Try to picture the chords as you play through the arpeggios - this will help with improvising. A general guide of sweep-picking arpeggios is to use only a downstroke (™) to ascend the arpeggio, hammering on any additional notes that fall on the same string. At the apex (highest point) of the arpeggio, use an upstroke ( V ) and pull-off any additional notes on the same string, while continuing with the upstroke to finish.1 i f I i . IN I —_ a : | | cl 1 \. lt Hy | i | ( 1 ll, | Tl | aa i —., my HT ad | r GAT ‘i « | | | . | l | Il | | tl ,.l, | { rm a m Tl cl ¢ | oe | | | : * lll I | | I ] | 7 t AHL oak HD IIc “| | ) 4 | \ | «et fl ¢ ; tt a wall ell.This study covers arpeggios in fifths only. This will sound very modern because of the huge interval leaps, very functional in that these can imply major or minor! Vv Vv ~ FE RT oF | Ife I l ll il Hh . Life | | >* I | ill | Uy . Ie .| c } 5 A Cc | > | C5 Db 5 ry 1——? —— Db 5 ri a ——_ > ——7 i ‘2 =m © oF = i c = 7: = wh i c BS er > 4 + > | Ip t vt lay ZC | c oS h | | ll Ils Hi ys LI | MI | a 4! |: iA4 | Thee tt om om am om. ll \l}- | C5 ¥ De 5 A; — — — De 5 ri ale a ; ut#3 E & trings. lower 5 This is an alternate picking study using A diatonic major triads ascending and descending in whole steps. | prefer muting on these Aniculations simileEtude #4 This etude uses an arpeggio embellishment technique called lower neighbor tones (always 1/2 step below the arpeggio note), along with pattern arpeggio technique. Am ti picking sinnile — m Wi Pt = nS yr = = —f ee Eo eed ae a 7 1 | eee gy |) doe — — lO Oo EE————_= | § i$’ | | Lee dk) ee. a = Se sc ce —5 : —————— | C—O i _—, 1 —_| Le! ip le i s = % rn i = % = ’ | | 1% Le pe fh ro 2 — | % $ % = ql. = $ | he tp % = + = 4! mT}, Jp i} oe all = | 11 ip hae a} e Sal! 2 | TTT? in alll al) ~ al ( | . P ’ T v y 1 + Ea a o 4 x | \ { y, = * 4 & v a 4 S| ' a | _ rf = Fi ia aL) —T J oo o Pie | s 7 ns * re a) > a an ; | | Rill. | re - 7 nh wt oo tt a! He a ‘| » ey (7 | y b a. A. 8 Pky 6! th | (7 a. iw » (T | | “ |? 5B & ha Hy h +4 Past: vt +4 a | oe un ‘ F | i | | | ) | a = * + » p . a a = a Da] * a A (I, | .) | ‘ e. = o 7 7 ' rn a) Th? tN? oe +6 12 4 t3 16 = _ 3 +4 TI i 14 3 T2Etude #5 Phis exercise is an example of reharmonization. We are using the "C" note as a basis for some of the many chords of which it is an element. ‘ii Y Cm oe i a — ak os ~~ + = ==_—— oT a —=—=— ES 2 - % intel eee tieeniall ———— —’ = — 1 2 a | # — | = —— SS ee - . «+ * * — a —" ——-+4 "4 a#otF t a é ; st a +0 ti 0 8 TT 4 fi- ” 4-4 6 +2 12—# ———————— ch +3 8 8 - 9 +— - —_—_—+4 te — - +-— 10 —~—$§_1t Zz ¢ 13- os v Vv = _ A a a a a ——————— el 4 ll poe = 5 " Vv. - = ri (| Wt | TT pit | eM [ Lu MH mit ml |. So a oe fs | q ‘ D iit = Sy i i a | J ntl ae | i J 1 il | aM) (IL ull] MD J) ( i ‘ —— Vv ¢ OO : | I = eaten tenes ipopeeeeesst eal aE i ty : — V _——— : ee A tee ry i |} — eT EE eee ee —Eeeeee oo eee hi —— | a, ee fe ie“ =x a ee il ee Vv ee a st = ——— i = Le lL|lLlLULULDLDLDLUm. CCU ee ‘ = ST eh Lestat eosin " a — 12) —-4 4 Pee Le =Cm Cdim? ¥ eee ee re LS ] ft Mt A un ~_ Vv —, —, = =-| | a > [ | i | 1. a a a [ | A | \ | | t 16Etude #6 This is a study in tremolo picking technique, which is a rapid playing of notes emphasizing a slower moving melody. The rhythm is 32nd notes at 8 per beat! Am picking simile | G#dim7 (Bdim7)Am G#dim? (Bdim7) 18with sweep technique. The rhythm is sextuplets (6 per = This is a look at triad stacking beat). A OC. al Fine ==: = — | o-—— aEEtude #8 ed pattern playing. Note the repetition of certain strokes during chord This is call changes. ri Vv m Vv _ Vv Pi V mi Vv = V 7 | "i = ‘ i > | fi il) i is Picking simile Cdim7 V = V mn V i | - Vv V Bdim? { G : ll j : c Bdim7 Cdim7 | een Se teeth |!Etude #9 ~ =| ‘oC — 5 fam o — c & a g S £ iu 5s er = 6 = oF 7 S a wl. ep BE a 68 in Os | Ss ° 5 ‘| > mi eo a ae > & ul Sw mc 2s EE o Oc V —.. A mi Vv a> SS Ale ef | HHT calllll cls Han ci Ri) yin a it ; Pte t | Mt > ‘ 7 | an ah | c||¢ | | A ] > l > I) c || c||+ Fine DG. al Fine } —Etude #10 picking and muting. Note ique with alternate S used as the open string note. * string techn This etude incorporates open that the root note is not alway Vom VAY Av AV ia iy m V Pi Vv rT ¥Y em Y¥ mw 6UW | packing simile HU)ree EEE ee ee eee eee EE | [I =a, al | I AEtude # 11 This study utilizes reharmonization with pedal tone technique. As well as alternate picking, I suggest playing with your fingers to open other possibilities. picking simile AM | ¥ ana — P Vv mi nm Vv —"T7 an Ve V in av = 4 rm Pee | _ | VW Pl VW ri Vv Ot ej el mn Vv 4 4 = if ap rs 4 4 4 | , 4 4 d 4 \ —— a Lg fT —a a Le fn 4 a I | fa 4 Am 24rf ere eens ees ill een een —— 2 ee eee 4 | | | . tl ,4 dim? aaa | Lh ae | | i | Healt Lt Bena 4 4 al 4 4 4 4 4Etude #12 Upper te. Here we are 10 no * lonian mode. 7 tones are always the next scale degree above the arpegg "C: This etude employs a technique called upper neighbor tone embellishment. being consistent for the most part with the neighbor picking simile ——— i) i ( ( ( ( | | | 5 * F qo Bb cG a —— | Bb Cc =——-——— .Etude #13 D Bi g 2 ways: gh the double-stop. “stops with a combination finger and pick technique. C#dim7 -stops. | suggest practicin k and play throu A Use just the pic Practice playing the double This is a study in double 2. Em 4) Fhe 4 Cer C#dim7 | | | . | | | ee |Etude #14 This is an example of a full diminished sweep technique, one of many, for Bdim7 (also known as Ddim7, Fdim7, and Ab dim7). The ending is in one octave moveable major patterns. = _ n A VL mr ll | | cdl | t | | Al | Ihe ho te Ler mi _— Vv ——, | = = i Vv — |¥ Ai V Pr Vv rm Vv Pr Vv nm Vv mr Vv = Vv mr V re Vv nm ¥ ri an a c ‘a oD a8 ce a a = oi b Vv | Vv ral Vv ri V mrEtude #15 This is a study in octave technique. As with double-stops, practice both plucking with . dampening the string between notes. Emphasize a . and strumming pick and fingers ' vibrato and tone, not speed mL : Pas ll tI | | | itl oll ie | C#m? La a a a ee ee Amay7 Cdim?