Three-string triads

In one of its simplest forms the chordal arpeggio appears as a three-note triadic figure,351 which is illustrated in Figures 14 and 15 in both ascending and descending forms.

347

Observed in Gambale, Monster Licks and Speed Picking, 1988. 348

Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 349

Frank Gambale, Monster Licks and Speed Picking, 1988. 350

Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 351

Figure 14

‘Caprice No. 22’, bar 30

Figure 15

‘Caprice No. 22’, bar 27

Although the obvious characteristic of this form of picking is the singular motion required, less evident are the musical possibilities that can be derived from this technique.352 Largely diatonic, the Caprices utilize triadic forms in various finger patterns for both position transitions and chromatic modulation. 353 However, they still

352

An example of which can be heard in ‘Serrana’, Jason Becker, Perspective, Warner Bros, 23018, 1996. 353

Heard in ‘Demon Driver’, Malmsteen, Eclipse, 1990. ; Stump, Arpeggio Lesson Volume 1, 2003. ; Malmsteen, Masters Series, 1991.

retain a basic sweep-picking cohesion that can be traced directly to the fundamental structure represented in the aforementioned musical examples.

Tonally “weaker” when viewed from a harmonic perspective, Figure 16 provides an elementary fingering pattern to begin triadic sweep-picking development.

Figure 16

At this fundamental stage there are a number of areas of concern that Figure 16 raises. These must be addressed correctly as they have far reaching ramifications for successful future development.

Two issues arise when addressing the sweep-picking motion of Figure 16, one of the most important of which is the development of a correct sweep-picking motion. The significant increase in the ratio of sweeps-per-string when discussing arpeggios, creates the need for continual readjustment of the right-hand position throughout the sweep portion of Figure 16.354 Interlinked with this is the secondary issue of pushing the plectrum past the optimal point needed in order to execute the non-swept notes on the high E string.

354

Another issue relates to the plectrum strokes enclosed in brackets. These represent a secondary option in order to facilitate the upwards sweep on the final two notes. By ending the first sweep one note sooner, the exercise takes on a more symmetrical form, beginning and ending with two swept notes in opposite directions.355 This interruption to the sweep-picking motion in order to strike the third note can increase the difficulty level at this point. However, it facilitates the second sweep which can increase overall speed. An illustration of why a symmetrical plectrum stroke is important to develop occurs in ‘Caprice No. 5’, shown in Figure 17.

Figure 17

‘Caprice No. 5’, Bars 47-49

This issue brings to the forefront an important point, illustrating from a technical

perspective, how the second part of a phrase can often influence the execution of the first.

Within the basic diatonic scale, there are three main types of triadic patterns, the minor,356 the major, 357 and the diminished.358 All three are prevalent throughout the Caprices making familiarization with them essential to the playing methodology. Within a static position on the fret board, cycling between three positions is possible, whilst utilizing the same sweep-picking pattern introduced in Figure 16.

355

Similar in principle to the arpeggio technique seen in Meola, Masters Series, 1991. 356

Don Mock, Artful Arpeggios. Milwaukee: Hal Leonard Publishing Corporation, 1977, p. 16. 357

Mock, Artful Arpeggios. 1977, p. 15. 358

Figure 18

When progressing from A major to A diminished in this style of cyclic pattern, the position movement occurs in semitone increments. The incremental position shifts stem from simple tonal alterations to the arpeggios.359 A major to A minor involves a

flattening of the third which, in this case, means the C sharp on the 9th fret moves to the C natural on the 8th fret. When A minor changes to A diminished the bass note and its octave counterpart both descend a semitone.

The optional bracketed fingering within the A minor arpeggio is relegated to an optional status for a number of reasons, the first of which is its utilization of different finger combinations from its previous arpeggio counterpart. The difficulties that arise through alternating the first and second finger on the same bass note can be problematic.

Introducing this secondary element requires additional coordination, which at this fundamental stage, can divert the developmental focus from sweep-picking motion.

Another reason for this kind of relegation is that in subsequent expansions of this technical idea, the bracketed fingering becomes exceedingly awkward. As mentioned earlier, previous and subsequent notes often influence immediate sweep-picking patterns; at present, however, the bracketed plectrum strokes can be adequately utilized. This form

359

lends itself to a plethora of variations based around triadic patterns and their inversions that occur throughout the Caprices.

Figure 19 illustrates the different inversions and their positioning on the guitar neck within the key of A minor.

Figure 19

Combining fingering alterations learnt in Figure 18 and the different inversion positions of Figure 19, it is possible to design an exercise that covers each variation. Figure 20 utilizes the three different triadic forms in three respective positions on the fingerboard, along with a number of finger-barrés.

Figure 20

Individual components and the points of interest will be discussed in the order in which they unfold. The finger-barrés that appear in the root position of the C major chord are optional for future development purposes. As in Figure 18 the natural extension of the arpeggio leads to optional finger-barrés becoming indispensable. The only other place where optional fingering occurs is the C minor arpeggio in its second inversion. 360 This sweep-picking pattern can be easily moved around the guitar neck, covering the triadic root position, first inversion, or second inversion arpeggios, whilst utilizing the same plectrum pattern.361

360

Observed in Malmsteen, Masters Series, 1991. ; Stump, Arpeggio Lesson Volume 1, 2003. 361