Here’s a cool 16-bar run I’ve been using a lot lately for a warmup exercise. It focuses on a couple of important techniques, gets your hands moving quickly, and gives your ears something to listen to besides straight scales and chromatics. Let’s break it down into two sections.
First things first: the entire piece is in sextuplets, in 6/8 time. As always, every note should be alternate-picked until you feel like you’ve mastered the progression at a decent tempo, at which point you can and should experiment with the usual dynamics (especially palm-muting and legato). Usually with a warmup piece you don’t really worry so much about using a metronome and keeping strict tempo, but for this piece it would probably help to use one at first, again to the point that you feel comfortable with the progression and techniques.
The piece breaks down into two main sections, six and ten bars respectively. Let’s break down the first six-bar section:
This is a six-note motif, with the root note descending chromatically against a repeated C-D-D#-D-C line, until bar 4, where the 5-note line played against the root becomes C-D-C-F#-C and the picking scheme changes substantially from having that F# note played on the D string instead of the G string. Take that 4th bar slowly at first, until the slight difference in picking sequence feels comfortable.
Bars 5-6 (see above)
One of my favorite melodic maneuvers, ascending triads using chromatic inversions. This sequence essentially functions as the melodic “bridge” between the two main sections. Check the chord implications throughout the piece, and use them for ideas for your own study pieces, progressions, or songs.
The rest of the piece is string skipping, so if you’re not comfortable with that technique, you should be fluent with it after mastering this short piece. Bars 7 and 9 are identical, and 8 and 10 are symmetrical, as diminished triads repeat every three frets, and are musically enharmonic. That’s why in bar 10 the arpeggio is shown as C#° (A#°/G°/E°), as it is technically all four of those things, because of the symmetrical nature of the diminished scale.
The string-skipping progression continues chromatically in bars 11-12, before heading into a “classical” cycle-of-fifths (E-B-D-A-C-G) progression in bars 13-15, before resolving on the B in the final bar. The stretches in bar 12 are wide, and a simple alternative to that is shown below. It can be either alternate or sweep picked; obviously, I would suggest you try both.
As always, get the progression comfortable under your fingers, increase the tempo, try various guitar dynamics, and especially throw in some melodic and harmonic changes of your own. As long as it sounds good, warms up your hands and ears, and gets you working on specific techniques, it’s good. Have fun!