Alternating string-skipping sizes

Figure 54 emphasizes the validity of this point, with access to E on the larger skip being much more difficult without a position change. Focused on the accurate location of strings through the exploration of alternating skipped string denominations, its success is dependent on a number of different technical variables. The ability to skip any number of strings to locate harmonic or melodic fragments is essential for both ‘Caprice No. 1’ and a multitude of other harmonic chord voicings.

Figure 54

Due to the fact that twisting the wrist to reach the notes has limited application for larger skips, the alternative is to move the entire arm at the elbow. This movement is required in varying degrees a total of eight times during this one exercise, appearing to be extremely inefficient. However, the movement required by the elbow is minor,

“pushing” the plectrum “through” the note subsequent to the skip. As the elbow pulls the plectrum to return it to its initial position, it again strikes the string. This simplistic methodology requires a minimum movement from the wrist once in position, relying instead on the arm movement to generate the notes. Although relatively cumbersome when compared to wrist note generation, the goal is to differentiate between the movements required to skip one or two strings. A margin of error exists which can be exploited when placing the wrist following the skip, however, to stay within usable parameters requires continual repetitive practice.

As string-skipping sweep-picking action becomes more familiar, less arm and more wrist movement can then be employed at the aforementioned turnaround points. By relegating the elbow to the role of delivering the plectrum to its target destination, the more efficient wrist motion can then be utilized to increase speed.

s,

As the speed increases, so too does the strength in which the strings are struck

immediately after a skip, which may require reduced plectrum pressure at these points. By softening the plectrum grip during the skip, when the next string is struck the full force of the elbow movement is reduced. The ability to retain a dynamic continuity between the initial notes and the notes directly following a string skip is, to a reasonable degree, dependent on the plectrum pressure. As the string skips alternate between strings of different gauges, plectrum pressure can be altered to take these variables into account. In essence, by loosening the plectrum grip, its rigidity is reduced allowing it to flex more easily in the opposite direction to that of the sweep. For example, by applying less plectrum pressure on the first skip of Figure 54, the plectrum naturally flexes towards the previous notes in the opposite direction of the sweep. This approach is similar to using a very flexible plectrum with a rigid grip or a strumming approach where the angle of the plectrum can alter to accommodate playing five of six strings in one motion. Although minor, as with all plectrum modifications, there are a number of positive and negative points that require discussion.

Allowing the plectrum to flex to such a degree can obscure the initial note attack. However, this is often only apparent when the plectrum is placed too deeply into the strings, causing the string to be struck with a larger part of the plectrum,398 which, in turn, can mask the attack. That this issue becomes less apparent as the tempo increase is largely due to the fact that in order to increase tempo, less of the plectrum must strike the string.399 Closely related to this point is the fact that this style of plectrum grip promotes a weak note attack, making a stronger dynamic more difficult to achieve.

398

Gilbert, Intense Rock 2, 1991. 399

ow.

ates

e expansion of string-skipping as it encompasses multiple skips of varying intervals.

string

ggio that imitates in essence, the fingering and plectrum technique of ‘Caprice No. 1’.

Figure 55

However, with the plectrum flexing to varying degrees, it facilitates a more flowing motion from one skipped string to another by decreasing the chance of it catching on the string. This issue can arise when using a rigid grip if the plectrum is placed too deeply into the strings, creating a “snag” which can retard or completely stop the sweep-picking fl

In Figure 54, the skips on the C sharp and the E are on neighbouring strings. This cre a situation in which the palm can arrive at the same position after each skip and still comfortably reach both strings. Although this is possible, it is most desirable to treat each new palm position as a separate entity; their individual placement variables after the skip being idiosyncratic rather than universal. Adopting this mode of thinking facilitates th

In order to expand the scope of technical development, the progression to multiple skips is required. Figure 55 illustrates a typical multi-string skipped major/minor arpe

ely

m, efore moving to the next string. Moving across the strings in this fashion inherently

lift

ng the rlying string noise albeit very subtle. owever, it does have the advantage of controlling sympathetic string vibration in

. Although the alternate fingering is easier from e viewpoint of note differentiation, in order to expand the extent of development the

riadic In contrast to previous string-skipping arpeggios, where the palm could rest immediat after the skip, this exercise requires the palm to dampen momentarily the third of the chord on the eighth and ninth frets respectively. The term “dampen momentarily” is defined as enough time to strike the string and in turn modify its vibration with the pal b

generates extraneous string noise at the point when the palm is lifted off the strings.

This brings into focus the two methods of moving from one position to another during string-skipping sweep-picking with the palm. The first and most obvious method is to the palm off the strings, replacing it in its new position; the second, to slide the palm across the strings from one position to the next. The first method can generate string noise when the palm is lifted from the initial position; the second method can create noise after the initial strings are left unattended by the palm. In the second method, pushi palm from one position to another can create an unde

H

addition to modifying the target string’s vibration.

At the turnaround points on the high E string, the methodology and execution should be similar to the previous two exercises with a subtle plectrum pressure alteration

accounting for the reduced string gauge th

finger-barré is the preferable option.

When developing any positional technique, the subject of positional motion must be addressed if the process is to reach its full potential. The embodiment of movable t

mples correspond to the exercise, in terms respectively of their r armonic chord voicings and fingering patterns although the actual notes and their order differ.

Figure 56

inversions that arise in ‘Caprice No. 1’ can be seen in Figure 56, first beat of bar 3, second beat bar 5 and the second beat of bar 8. These exa

elation to h

In contrast to previous string-skipping sweep-picking forms, non-overlapping transitional motion is now a factor, creating the need for relatively large movement in the left hand. As in previous transitional motion, the key lies in the synchronization of the transitiona finger with the plectrum strokes. In this case, transitional

l motion is precipitated by the rst finger on a down-stroke, in effect moving from the 5th to the 9th fret, the 9th to the

its dered mute with regard to a direct translation to string skipping.

owever, there are a number of issues that are exclusive or more relevant in nature to fi

12th fret, returning to the initial position after the repeat.

As a technical precedent has already been set in adjacent transitional string movement replication is ren

H

they

e

e of

otion with the arm can often function more esirably. The degree to which the motion takes place often depends on the individual

g the second skip each arpeggio. Unlike its third skip counterpart, the plectrum motion on the G string is

g the Figure 56 presents familiar alternative plectrum strokes, although in string-skipping are utilized directly after the second and before the third skip of each arpeggio. Using a continuous plectrum motion on cursory examination can appear to be the preferred method. However, the plectrum motion immediately prior to the third skip is then in th opposite direction to the subsequent note. This requires the plectrum to be pulled back over the E and skipped B string in order to strike the G string with an upstroke. In its adjacent counterpart this inefficient motion is easier to combat due to the close proximity of the strings. However, the increased distance between strings created by the string- skipping harmonic voicings, requires more extreme motion. The solution to this is an arm movement combined with a minimal wrist motion, of which the wrist segment is standard alternation, reflecting none of the radical arm movement. The large degre movement is dictated by the retention of the optimum plectrum angle relative to the string. Incremental wrist/elbow movement can often render both variables out of position; whereas one large, flowing m

d

physical attributes of each guitarist.

Utilization of the alternative plectrum strokes eliminates the third skip issue. However, in order for this to happen, an alternate-picking stroke must occur durin

of

towards the subsequent note, making it both more efficient and fluid.

When positioning the right hand at the turnaround point, it is important to avoid pushin the plectrum too far past the target string on the first note. As the first note is part of sweeping motion it is more prone to exceed the optimum distance beyond the string.

e

a turnaround point; can be defined as “the distance required so as not to inhibit natural string vibration, yet far enough to strike the subsequent string with its required dynamic”.

n, rt402. Figure 57 and 58

illustrates how sequencing notes within framework works within ‘Caprice

No.1’ and can be expanded to the

Figure 57 ‘Caprice No. 1’, bar 69

This creates the need for excessive wrist motion on the subsequent note. Optimum distance as applied to string-skipping sweep-picking is dependent on the vibration of th string in question. In turn, the amount of vibration is reliant on a number of variables such as string tension and neck position, dynamics, string gauge and tempo. All these being equal, the optimum distance the plectrum can travel past the string at