In last month’s installment of Chop Shop we looked at a classical-flavored run in E minor that incorporated arpeggios, octaves and a simple but cool-sounding octave finger tap. This month we’re going to expand upon that approach by again employing arpeggios, this time also bringing in some sweep picking, a sliding finger tap, pinch harmonics and behind-the-nut string bending.
FIGURE 1 illustrates this month’s lick, which we’ll break up into sections that can be mastered one at a time. Section 1 uses the neck pickup and begins with an ascending B minor arpeggio (B D Fs) shape in seventh position. Next, slide up the neck for a D major arpeggio (D Fs A), which, in this context, creates a Bm7 (B D Fs A) sound, before sliding up to 12th position and descending using our old friend the E minor pentatonic scale (E G A B D). As you’ll notice in the video for this month’s lesson, I pick using only downstrokes for the first 10 notes, together with a couple of hammer-ons and legato finger slides. I then revert to strict alternate picking (down, up, down, up, etc) for the E minor pentatonic descent.
Section 2 is where we start to put the pedal to the metal, in terms of speed, while staying on the neck pickup. This section starts off with an Fmaj7 (F A C E) sweep arpeggio, performed with a single downstroke across the top four strings, using the fret-hand fingering shape shown in PHOTO 1. The secret behind successful sweep picking is to not let the notes ring into each other like a strummed chord. This is accomplished by relaxing the fretting finger on each note before the next one sounds.
Immediately following the sweep, I tap the A note at the high E string’s 17th fret with my pick-hand middle finger (PHOTO 2), and then do a chromatic pull-off using all four fingers of my fret hand.
This whole pattern is then repeated, only this time, following the finger tap, I slide my tapping finger up the neck and then back down to the 17th fret before pulling it off. As I point out in the video lesson, as this tapped slide happens so quickly, it doesn’t really matter what fret it goes up to—it just sounds cool! After the chromatic pull-off on the high E string that follows, Section 2 ends with a bend on the D note at the B string’s 15th fret, with vibrato.
For the third and final section, I switch to the bridge pickup and do some behind-the-nut string bending (PHOTO 3) while picking pinch harmonics on the open G string. It helps to have a lot of gain to get pinch harmonics happening, and you also have to graze the string with the edge of your thumb as you pick it (PHOTO 4). In super-slow motion, your pick hits the string first, followed a fraction of a second later by the edge of your thumb. Hence the name “pinch harmonic.” These harmonics happen in different places, depending on whether you’re picking an open string or a fretted note. To enact the behind-the-nut bends you obviously need a guitar that doesn’t have a locking nut and, as you can see in PHOTO 3, I use more than one finger to push down against the string for added strength and control.
This short run and the techniques it utilizes will hopefully give you a few ideas to use in some licks of your own.