The Lightspeeder’s Shred Tips Berklee College of Music Guitar Session 2013 www.germanschauss.com Excerpts taken from The Total Shred Guitarist Book/DVD
4HE FOLLOWING EXAMPLE IS A VARIATION OF THE ONE ABOVE (ERE YOUSTARTOFFWITHYOURSTlNGERONTHERDSTRING ANDDESCENDDOWNTOTHELOWESTSTRING 3YNCHRONISATION!CROSSTHE3TRINGS6ARIATION 4RACK
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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
4HE FOLLOWING EXAMPLES ARE VARIATIONS ON THE PREVIOUS EXERCISE)NEXAMPLES#AND$ THERDANDTHlNGERS AREMOVEDTOTHEADJACENTSTRING4HISCANVERYTRICKYBUT ITISAGREATWAYTODEVELOPTHEINDEPENDENCEOFYOURRD ANDTHlNGERS
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
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
9OU CAN USE THESE FORMS TO PLAY HORIZONTALLY UP AND DOWNTHEFRETBOARD ORVERTICALLYACROSSTHESTRINGSIN MOSTLY ONE POSITION (OWEVER UNDERSTANDING THESE BASICFORMSWILLFREEYOURPLAYINGFROMTYPICALIN POSITION SCALEPLAYING !SMENTIONEDABOVE THEMAJORSCALEINPARTICULAR THE THREE NOTE PER STRING PATTERNSIS 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
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
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4RY TO PRACTICE THESE SHAPES SLOWLY AND ACCURATELY &URTHERMORE PRACTICETHEARPEGGIOSBYPLAYINGTHEDIATONIC ASCENDINGORDESCENDINGTRIADSOFALLKEYSASPREVIOUSLY DISCUSSED
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4HE TWO EXAMPLES BELOW ARE SIMPLE SWEEP PICKING PATTERNSTHATWILLHELPYOUWITHYOURPICKING
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Tapping Arpeggios 5SINGTHETAPPINGTECHNIQUETOPLAYARPEGGIOSISAGREAT WAYTOBRINGNEWSOUNDSTOYOURPLAYING,ETSSTARTWITH THE BASIC TRIADS IN ROOT POSITION 4HE DIAGRAMS BELOW SHOWTHEFOURBASICTRIADSMAJOR MINOR DIMINISHED AND AUGMENTED '-AJOR
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!SYOUCANSEE THEBASICTHREENOTESOFTHETRIADAREJUST BEINGhCOPIEDvFROMTHE!STRINGTOTHE'STRINGTOTHE% STRING9OUCANALSOSTARTTHESAMEARPEGGIOSONTHELOW % STRINGANDMOVEITTOTHE$STRINGAND"STRING0RACTICE THE DIFFERENT ARPEGGIOS AND USE THEM TO HARMONIZE ALL MAJOR MINOR ANDOTHERSCALES4OGETYOUSTARTEDWITH
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SOME MORE INTERESTING IDEAS AND PATTERNS BELOW ARE SOMECOMMONARPEGGIOSEQUENCES0RACTICETHEMSLOWLY AND MAKE SURE THAT ALL NOTES ARE PLAYED ACCURATELY AND SOUNDCLEAN4HISlRSTEXAMPLEISANASCENDINGFOUR NOTE SEQUENCE
7th Arpeggio Tapping !NOTHEREXCITINGWAYTOPLAYTHARPEGGIOSISTOUSETHE TAPPINGTECHNIQUE4HEDIAGRAMSBELOWSHOWTHEBASICTH A ARPEGGIOFORMSMAJOR DOMINANT MINOR MINOR ANDDIM '-AJ
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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
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