German Schauss Shred Tips.pdf

October 3, 2017 | Author: John Whittall | Category: N/A
Share Embed Donate


Short Description

Download German Schauss Shred Tips.pdf...

Description

German Schauss

The Lightspeeder’s Shred Tips Berklee College of Music Guitar Session 2013 www.germanschauss.com Excerpts taken from The Total Shred Guitarist Book/DVD

©2013 German Schauss

4HE NEXT EXERCISE IS DESIGNED TO HELP YOU DEVELOP A BETTER CROSS PICKING TECHNIQUE #ROSS PICKING CONSISTS OF

ALTERNATEPICKING ACROSSTHESTRINGS WITHONLYONENOTE PERSTRING

3YNCHRONISATION!CROSSTHE3TRINGS  4RACK 

s r s rs r s r

 Œ Œ Œ Œ   Œ L Œ Œ Œ Œ LŒ Œ   Œ Œ Œ Œ Œ LŒ Œ Œ

4 ! "









 





ETC







      



 















    











Œ Œ 





L Œ ŒA Œ 





   

Œ Œ Œ Œ L Œ Œ  Œ Œ 







 

 



 





 



 

4HE FOLLOWING EXAMPLE IS A VARIATION OF THE ONE ABOVE (ERE YOUSTARTOFFWITHYOURSTlNGERONTHERDSTRING ANDDESCENDDOWNTOTHELOWESTSTRING 3YNCHRONISATION!CROSSTHE3TRINGSˆ6ARIATION  4RACK 

Œ ŒŒ  Œ Œ  Œ Œ Œ Œ LŒ   Œ L Œ Œ Œ Œ  Œ  Œ  A Œ Œ Œ   Œ Œ Œ Œ LŒ Œ LŒ Œ Œ Œ Œ Œ s r s r s r s r

4 ! "







 

    







ETC





 











   























   

























 



 





    



Finger Independence and Conditioning )TISEXTREMELYIMPORTANTTODEVELOPlNGERINDEPENDENCE ANDTHEABILITYTOUSEANYCOMBINATIONOFLEFT HANDlNGERS 4HElRSTEXAMPLEORSETOFEXAMPLES ISBASEDONTHE IDEA OF USING ALL POSSIBLE lNGER COMBINATIONS 7E CAN REFER TO THIS AS A lNGER TWISTER 4HOUGH THIS EXERCISE IS DEMONSTRATEDBELOWASSTARTINGONTHETHFRET YOUCAN PLAYITANYWHEREONTHEFRETBOARD4OTHERIGHTAREFOUR COLUMNS OF NUMBERS 4HE lRST COLUMN REPRESENTS ALL POSSIBLElNGERCOMBINATIONSSTARTINGWITHTHESTlNGER 4HESECONDCOLUMNREPRESENTSALLPOSSIBLECOMBINATIONS STARTINGWITHTHENDlNGER ETC0LAYTHECOMBINATIONh   vACROSSTHEFRETBOARD STARTINGONTHETHSTRINGAND ASCENDINGTOTHEST ANDTHENDESCENDINGBACKTOTHETH 3EE%XAMPLES!AND"BELOWFORTHECORRECTASCENDINGAND DESCENDINGSEQUENCE0LAYTHROUGHALLTHEPOSSIBLElNGER COMBINATIONS CLEANLYANDEVENLY INALLFOURCOLUMNS

 

!

4 ! "

 

 







     

     

     

ETC Œ Œ Œ Œ Œ Œ Œ Œ  Œ  Œ  Œ  Œ Œ Œ Œ Œ Œ  Œ Œ Œ Œ Œ Œ  Œ  Œ Œ Œ  Œ Œ

s r s r

Œ Œ Œ

     

ETC "

ETC

 





















     





 



   

4HE4OTAL3HRED'UITARIST





 

   

















           







4HE FOLLOWING EXAMPLES ARE VARIATIONS ON THE PREVIOUS EXERCISE)NEXAMPLES#AND$ THERDANDTHlNGERS AREMOVEDTOTHEADJACENTSTRING4HISCANVERYTRICKYBUT ITISAGREATWAYTODEVELOPTHEINDEPENDENCEOFYOURRD ANDTHlNGERS

 

#

4 ! "

Œ Œ   Œ  Œ Œ  Œ  Œ  Œ Œ Œ  Œ Œ Œ Œ

s r sr

Œ Œ

ETC $

ETC

  



    



 

























 













Œ Œ Œ Œ Œ LŒ







)N%XAMPLES%AND& WEGOONESTEPFURTHERBYSKIPPING THEADJACENTSTRING4HISREQUIRESGREATCOORDINATIONAND

Œ Œ Œ Œ Œ Œ Œ Œ

   



  



      



ETC

ŒŒ



  



    

 

CONCENTRATION3TRIVEFORACCURACYANDAGOOD CLEANSOUND $ONOTBEIMPATIENTˆTHESPEEDWILLCOME

Œ & Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ  Œ Œ  Œ   Œ  Œ  Œ  Œ  Œ  Œ  Œ Œ  Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ETC

ETC

%

4 ! "





















 





 



  













 

  







"ELOW WE HAVE THREE NOTE ASCENDING AND DESCENDING PATTERNS0LAYALLTHEPATTERNSUSINGSTRICTALTERNATEPICKING

  4 ! "

s r s r s r



4 ! "





































































































    



 



 

      

 

 





ANDUSEAMETRONOMETOMONITORYOURSPEEDWHILEALWAYS STRIVINGFORACCURACY





Œ AŒ Œ Œ LŒ AŒ Œ Œ LŒ AŒ Œ Œ 

 

Œ Œ Œ LŒ Œ Œ Œ LŒ Œ Œ Œ LŒ 



Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ 



 

ETC



 

























































Œ Œ AŒ LŒ AŒ Œ Œ Œ Œ Œ Œ AŒ  























































4HE4OTAL3HRED'UITARIST



Warm up 1

& 44 w

˙

≥

T A B

˙

≥

5

œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

≥

5

≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 3 3

5

5

Example 2a

5

5

5

5 5 5 5 5 5 5 5

3 3

3 3

3 3

5 5 5 5 5 5 5 5 5 5 5 5

2d

2c

2b

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

3 4 3 3 4 3 4 3 4 4 3 4 3 4 3 4 3 4 3 4 4 3 4 3 4 3 4 3 & œ œ œ œ1 œ œ œ œ1 œ1 œ œ œ œ1 œ œ œ œ1 œ œ œ1 œ œ œ1 œ œ œ1 œ œ œ œ1 œ œ œ œ1 œ œ1 œ œ œ œ1 43

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ 3

4

5

4

2

4

5

4

2

2

5

4

5

2

5

4

5

3

3

3

3

3

2 4 5 2 4 5 2 4 5 2 4 5

3

3

5 2 4 5 4 2 5 2 4 5 4 2

7

2e

2f

& 43 œ œ œ œ œ œ œ œ œ œ œ œ 4

3

1

4

3

1

4

2

2

4

3

1 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

2

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 5

4

2

5

4

2

5

2

3

5

3

4

1

3

4

1

2

4

1

4

1

3

4

1

2

4

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 5

2

11

2

4

5

2

3

5

2

5

2

4

5

2

3

5

2

4 4 2 œ 2 œ 1 1 œ 1 1 œ œ 4 2 4 œ 4 œ 4 2 4 œ 2 2 2 œ1 œ œ œ œ œ1 œ œ œ1 œ œ 3œ œ œ1 œ œ

2h

2g

& œœœœœœœœœœœœœœœœœœœœœœœœ 1 23 4 1 43 2

1 43 3 1 43 2

1 23 4 1 43 2

1 43 3 1 43 2

2

4

3

3

3

3

3

3

3

≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ ≤ ≥3 ≤ ≥ ≤3 ≥ 8≤ ≥3 ≤ ≥ ≤3 ≥ 8≤ 10≥3 12≤ ≥ ≤3 ≥ 8≤ ≥3 ≤ ≥ ≤3 ≥ 8≤ 10≥3 12≤ 2 3 5

2

5 3 2

5 4 2

5 3 2 3 5

2

5 3 2

5 4 2

5 3

9 10 12

12 10 9 10 12

13

© 2013 German Schauss

9 10 12

12 10 9 10 12

3 Note per String Scale Diagram lydian

mixolydian

aeolian

( natural minor )

locrian

ionian ( major )

dorian

phrygian

Copyright 2003 ASCAP Lightspeeder Pub. German Schauss

Hexatonic Scales 9OUAREPROBABLYWONDERINGWHATHEXATONICSCALESAREAND HOWYOUCANUSETHEM(EXATONICSARESIX NOTESCALES ! COMMON MAJOR SCALE A SEVEN NOTE SCALE IS CALLED A HEPTATONIC SCALE 4HESE NAMES ARE DERIVED FROM THE 'REEKWORDSFORSIXhHEXAv ANDSEVENhSEPTAv 7E HAVEALREADYLOOKEDATANOTHER'REEK NAMEDSCALETHE PENTATONICSCALEhPENTAvMEANSlVE 

,YDIAN

-IXOLYDIAN























)ONIAN























 









/NTHENEXTPAGEAREAFEWEXAMPLESUSINGTHEHEXATONIC SCALESINFASTPICKINGRUNS-OREEXAMPLESONTHEAPPLICATION OFTHISSCALEWILLBECOVEREDINOTHERCHAPTERSASWELL





 



 





























$ORIAN

 

0HRYGIAN





,OCRIAN

!EOLIAN



4HE SIX NOTE HEXATONIC SCALE IS A GREAT TOOL FOR GETTING AROUNDTHEFRETBOARD)FYOUUSEONLYTHElRSTSIXNOTESOF EACHOFYOURSEVENSCALEPOSITIONS YOUCANEASILYCREATE AHEXATONICSCALE*USTREPEATTHOSESIXNOTESONEOCTAVE HIGHERONTHE$AND'STRINGS ANDTHENONEOCTAVEHIGHER AGAINONTHE"AND%STRINGS4HERESULTISAHEXATONICSCALE SPANNINGTHREEOCTAVES4HESESCALESAREGREATFORPLAYING FASTASCENDINGORDESCENDINGRUNS4HEFOLLOWINGDIAGRAMS SHOWTHESEVENHEXATONICSCALESIN#-AJOR

4HE4OTAL3HRED'UITARIST



 



Music’s Phone Number $OYOUHAVEMUSICSPHONENUMBER.O/KAY LETSTALK ABOUTHOWYOUCANGETIT 3IMILARTOHOWWEBROKEDOWNTHEPENTATONICSCALEINTO lVEBASICSHAPESSEEPAGE88 THEMAJORSCALECANBE BROKENDOWNASWELL4HISRESULTSINSEVENBASICFORMS &ORM

TWOOFWHICHLOOKTHESAMEBUTSTARTONDIFFERENTSCALE DEGREES4HEFORMSSHOULDBEPLAYEDACCORDINGTOTHEIR RELATIVESCALEPOSITION4HISMEANSTHATTHElRSTNOTEOF &ORMSHOULDBETHETONICOFTHEMAJORSCALE THElRST NOTEOF&ORMSHOULDBETHENDDEGREEOFTHEMAJOR SCALE ANDSOON &ORM









 











 































&ORM

&ORM





&ORM

&ORM



&ORM

9OU CAN USE THESE FORMS TO PLAY HORIZONTALLY UP AND DOWNTHEFRETBOARD ORVERTICALLYACROSSTHESTRINGSIN MOSTLY ONE POSITION  (OWEVER UNDERSTANDING THESE BASICFORMSWILLFREEYOURPLAYINGFROMTYPICALIN POSITION SCALEPLAYING !SMENTIONEDABOVE THEMAJORSCALEˆINPARTICULAR THE THREE NOTE PER STRING PATTERNSˆIS MADE UP OF THE lVE BASICFORMSABOVE/FCOURSE LIKEWEDIDWITHTHElVE FORMSOFTHEPENTATONICSCALE WEWILLHAVETOADJUSTTHESE FORMSWHENPLAYINGTHEMONTHE'AND"STRINGSSEE3TUDY 4IPONPAGE  0LAYINGTHREENOTESPERSTRINGWILLMAKEYOUAUTOMATICALLY MOVEINTHSACROSSTHESTRINGS)NOTHERWORDS ASYOU GO UP THE STRINGS THnTHnTH ETC THE lRST NOTE ON 

4HE4OTAL3HRED'UITARIST

EACHNEWSTRINGISATHAWAYFROMTHElRSTNOTEONTHE PREVIOUSSTRING4HISMEANSYOUWILLSTAYINPOSITIONFOR MOSTOFTHETIME4HEEXCEPTIONTOTHISRULEISTHETH SCALEDEGREE)FWEWEREPLAYINGTHISPATTERNINTHEKEY OF# THETHSCALEDEGREE" ISNOTAPERFECTTHITISAN AUGMENTEDTH WHICHMEANSYOUWILLHAVETOMOVEONE FRETUPONTHEFRETBOARDWHENYOUCROSSTHESTRINGSSEE DIAGRAMBELOW  )ONIAN

TH

TH

!UGMENTEDTH

All Across the Fretboard 3WEEPINGACROSSEVENMORESTRINGSCANBEQUITEDIFlCULT BUT WITH PRACTICE AND PATIENCE YOU WILL MAKE GREAT IMPROVEMENTS4HElRSTSTEPISTOLEARNALLTHEDIFFERENT ARPEGGIOSHAPES4HEDIAGRAMSBELOWSHOWTHEDIFFERENT SHAPESFORMAJOR MINOR DIMINISHED ANDAUGMENTEDTRIAD

ARPEGGIOSINROOTPOSITION STINVERSION ANDNDINVERSION 3OMEOFTHElVE STRINGSHAPESCANALSOBEEXTENDEDTO THE LOW % STRING BUT GENERALLY THEY ARE PLAYED ON lVE STRINGSONLY

-!*/242)!$ 2OOT0OSITION





ST)NVERSION





ND)NVERSION

-)./242)!$ 2OOT0OSITION





ST)NVERSION





ND)NVERSION

$)-).)3(%$42)!$ ND)NVERSION

!5'-%.4%$42)!$ ND)NVERSION

4RY TO PRACTICE THESE SHAPES SLOWLY AND ACCURATELY &URTHERMORE PRACTICETHEARPEGGIOSBYPLAYINGTHEDIATONIC ASCENDINGORDESCENDINGTRIADSOFALLKEYSASPREVIOUSLY DISCUSSED

r s Œs Œs

  Œ Œ #

 4RACK 

4 ! "









Œs Œs Œr Œr Œr r r s r s Œs Œs Œs Œr Œr Œr r r Œ Œ Œ Œ Œ Œ Œ 













4HE TWO EXAMPLES BELOW ARE SIMPLE SWEEP PICKING PATTERNSTHATWILLHELPYOUWITHYOURPICKING















































































  

r s Œs Œ Œs Œr Œ Œ Œ Œ Œ Œ s r r s Œs Œ Œ Œr Œr ETC Œ Œ Œ Œ Œ Œ  Œ  Œ  Œ #!

 4RACK 

4 ! " 



























4HE4OTAL3HRED'UITARIST























































































 

Tapping Arpeggios 5SINGTHETAPPINGTECHNIQUETOPLAYARPEGGIOSISAGREAT WAYTOBRINGNEWSOUNDSTOYOURPLAYING,ETSSTARTWITH THE BASIC TRIADS IN ROOT POSITION 4HE DIAGRAMS BELOW SHOWTHEFOURBASICTRIADSMAJOR MINOR DIMINISHED AND AUGMENTED '-AJOR























































'-INOR







'$IMINISHED







'!UGMENTED







!SYOUCANSEE THEBASICTHREENOTESOFTHETRIADAREJUST BEINGhCOPIEDvFROMTHE!STRINGTOTHE'STRINGTOTHE% STRING9OUCANALSOSTARTTHESAMEARPEGGIOSONTHELOW % STRINGANDMOVEITTOTHE$STRINGAND"STRING0RACTICE THE DIFFERENT ARPEGGIOS AND USE THEM TO HARMONIZE ALL MAJOR MINOR ANDOTHERSCALES4OGETYOUSTARTEDWITH

 4RACK 

SOME MORE INTERESTING IDEAS AND PATTERNS BELOW ARE SOMECOMMONARPEGGIOSEQUENCES0RACTICETHEMSLOWLY AND MAKE SURE THAT ALL NOTES ARE PLAYED ACCURATELY AND SOUNDCLEAN4HISlRSTEXAMPLEISANASCENDINGFOUR NOTE SEQUENCE

ƒ 4 Œ 4 Œ Œ Œ 4 4 4 4 4 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ  Œ Œ Œ Œ Œ Œ Œ «  Œ Œ 4

'

4 ! "

4    





4



I

4  

 





I

4HE4OTAL3HRED'UITARIST

4

4

4



     

 

 

4

4   









I





I





I





I





I





I

7th Arpeggio Tapping !NOTHEREXCITINGWAYTOPLAYTHARPEGGIOSISTOUSETHE TAPPINGTECHNIQUE4HEDIAGRAMSBELOWSHOWTHEBASICTH A ARPEGGIOFORMSMAJOR DOMINANT MINOR MINOR  ANDDIM '-AJ





































































'





'MIN







A 'MIN 







'DIM







0RACTICETHESESHAPESALLOVERTHEFRETBOARDANDUSETHEM TOHARMONIZEASMANYKEYSASTHESPACEONYOURFRETBOARD ALLOWS4HESHAPESWILLALSOWORKONTHEOTHERTHREE STRING SET%n$n"  4RY ALSO THE ARPEGGIO SEQUENCES DISCUSSED IN THE TRIAD SECTION LIKEASCENDINGTHS ANDSOON 4HE4OTAL3HRED'UITARIST



Algerian Scale

Scale: C D Eb F# G Ab B 1 2 b3 #4 5 b6 7 Japanese Scale1

Scale: C D Eb G Ab 1 2 b3 5 b6 Japanese Scale 2

Scale: C D F G Ab 1 2 4 5 b6

Whole Tone Scale

Scale: C D E F# G # Bb 1 2 3 #4 #5 b7

© 2009 German Schauss www.germanschauss.com

View more...

Comments

Copyright ©2017 KUPDF Inc.
SUPPORT KUPDF