Chromatic Patterns Part 2

In the last post, we looked at the 24 possible combinations for all four fingers, and paired them up as ascending and descending symmetrical patterns for easier memorization and practice. The idea with these sorts of exercises is to develop maximum independence in the fingers on the fretting hand.

So now we’ve taken the ascending and descending parts of our #1 fingering set, and worked on those pieces separately. The next logical step would be to combine the two, right? Let’s do it!


Now reverse the combination, ascending with the descending pattern, then descending with the ascending pattern.

Another way to combine the mirrored patterns, rather than running one all the way up and the other all the way back down (or vice versa), is to alternate them one right after the other, all the way up and back. The cells and loops are the same for both sets of combinations, but the runs will change as seen below:

Let’s review the process of breaking down exercises into cells, loops, and runs:
• Practice the pattern cell a few times to get the rhythm and feel of the fingering pattern.
• Play the loop, gradually raising the tempo until you can no longer play it perfectly.
• Play the run as you did the loop, comparing maximum tempos for each to identify possible mechanical areas to work on.
• Play the full exercise, from the 1st to 12th fret and back down, on each string.

Some observations on the process:
• For the full exercise, feel free to adjust the range up the neck to a more comfortable area, if need be. The range should span an entire octave (12 frets).
• Use standard alternate picking (down-up-down-up) until you are satisfied that you have mastered the exercise. Then try reversing the picking motion (starting with an upstroke).
• Try fretting-hand techniques such as legato (hammer-ons/pull-offs).
• Try picking-hand techniques such as palm-muting.
• When working on ascending/descending fingering pairs, spend just enough time on the individual pieces to learn them, then move on to working them in combination. That’s where the greatest benefit to your technique will occur the most quickly.

Again, keep track of your maximum tempos as you work on these exercises and their component pieces. This will help you pinpoint areas in your technique to focus on, and will also allow you to track your progress.

Chromatic Patterns

This next series of posts is designed to create maximum independence in your fretting hand fingers, by getting you familiar with all the possible combinations and creating patterns. These are commonly referred to as “chromatic” but are not technically using the entire chromatic scale in most cases. Whatever you want to call them, working these patterns into your practice routine will have an effect on your technique very quickly.

The usual mathematical model of showing all possible combinations of using all four fretting fingers once each in a sequence looks like this:

1. 1-2-3-4
2. 1-2-4-3
3. 1-3-2-4
4. 1-3-4-2
5. 1-4-2-3
6. 1-4-3-2
7. 2-1-3-4
8. 2-1-4-3
9. 2-3-1-4
10. 2-3-4-1
11. 2-4-1-3
12. 2-4-3-1
13. 3-1-2-4
14. 3-1-4-2
15. 3-2-1-4
16. 3-2-4-1
17. 3-4-1-2
18. 3-4-2-1
19. 4-1-2-3
20. 4-1-3-2
21. 4-2-1-3
22. 4-2-3-1
23. 4-3-1-2
24. 4-3-2-1

The table is handy, but not very easy to memorize for practicing. As you practice fingerings across multiple strings and up and down the neck, you’ll see that half of the patterns are mirror images of each other. So you can simplify the number of patterns by pairing them up and organizing them like this:

Ascending Descending
1.    1 – 2 – 3 – 4 4 – 3 – 2 – 1
2.    1 – 2 – 4 – 3 3 – 4 – 2 – 1
3.    1 – 3 – 2 – 4 4 – 2 – 3 – 1
4.    1 – 3 – 4 – 2 2 – 4 – 3 – 1
5.    1 – 4 – 2 – 3 3 – 2 – 4 – 1
6.    1 – 4 – 3 – 2 2 – 3 – 4 – 1
7.    2 – 1 – 3 – 4 4 – 3 – 1 – 2
8.    2 – 1 – 4 – 3 3 – 4 – 1 – 2
9.    2 – 3 – 1 – 4 4 – 1 – 3 – 2
10. 2 – 4 – 1 – 3 3 – 1 – 4 – 2
11. 3 – 1 – 2 – 4 4 – 2 – 1 – 3
12. 3 – 2 – 1 – 4 4 – 1 – 2 – 3

Sample exercises and patterns corresponding to the first pair of fingerings are provided, so you can plug all the other pairs in accordingly. Run them across all strings, up and down the neck, forward and backward. Stick with standard down-up-down-up alternate picking until you get comfortable with all the pairs, then try up-down-up-down and legato (hammer-ons and pull-offs). Refer to the main chart of symmetrical ascending/descending patterns for additional practice.

Remember: the point of these chromatic-style practice patterns is to promote finger independence, and to facilitate moving patterns across strings and up and down the neck. They are not intended to be musical, but can definitely have musical uses. Use your imagination, mix and match patterns and timings, develop your own variations – and most of all, have fun with it.

To introduce ideas and patterns for exercises and how to apply them, we’ll use the following terms to describe the basic elements:

  • Cell – refers to the pattern at its most basic level, usually within a single position.
  • Loop – playing the pattern repeatedly in position.
  • Run – moving the pattern up and back several (at least 4) positions or strings, and back.

These are the building blocks for all the exercises presented in this series of posts. When learning any new piece or exercise, it’s always best to take it a segment at a time, then put it all together.

Single-String Patterns
Let’s take a look at patterns that occur on one string. We can then move them up and down the neck, and then across the neck on the other strings. We’ll start with the first pair of fingerings in the table on page 7. The cell for the ascending fingering [1-2-3-4] looks like this:

The cell itself is the 1-2-3-4 16th-note combination; the quarter note after the phrase is primarily a place-holder, but also allows you to get the hang of the fingering, and bring it up to speed. Now try moving on to the loop:

Play this one at a comfortable tempo, to where it’s a continuous, seamless flow of notes. Gradually raise the tempo until you can no longer play it perfectly. Make a note of this maximum tempo. Now we’re going to move the pattern up and back a few positions on the neck:

As with the loop, play the run at a manageable rate of speed, gradually raising the tempo until it is no longer perfect. Now take a look at that final tempo, and compare it to what you ended with for the loop. Ideally, the “maximum run tempo” should be equal to the “maximum loop tempo,” but if it is less than that, then exercises that address position-shifting should be an emphasis of your warm-up and practice routines. (This principle will also apply to string-crossing.)

For the full exercise, run the pattern from the 1st position up to the 12th and back on the low E (6th) string. Then do the same thing on the other five strings.

Now, let’s look at the descending part of our #1 fingering pair, starting with the cell:

Now the loop:

And finally the run:

As with the ascending pattern, run this up and back, from 1st to 12th frets, on each string.
Hopefully the “cell/loop/run” format outlined here serves as a useful template for you in breaking exercises and drills down into more manageable chunks, working on those chunks at comfortable tempos, and then putting them all together into one coherent piece.

In the next post, we’ll go over some ideas on combining ascending and descending patterns.

Octave Exercise

Inspiration for developing new melodic exercises can come from just about anywhere. I was recently listening to the new Megadeth album, which I’ve listened to plenty of times over the past few months since it came out. In the track Post-American World, I paid extra attention to one of the middle solos, and heard a nice octave run connecting an arpeggio-based melody. I hadn’t caught that previously, so of course I had to work out the notes and devise some exercises. Wider intervals tend to have a more “modern” sound to them that can add a different flavor to your melodic playing.

The simplest way to play two notes an octave apart is with a string between the two notes, which makes alternate picking more challenging. Well, that’s why we develop exercises, right? Let’s take a look at the A minor (C major) scale in octaves:


The octave notes are grouped together in the above example, but play them separately as well, using strict alternate picking. Try as many combinations as you can think of — start with the low note, start with the high note, with an upstroke, a downstroke. Take it slow, use a metronome, and observe carefully your picking hand motion as you cross over the B string in each direction. The real challenge is in economizing the height and distance that your picking hand moves, while not hitting the B string.

This example is very similar to the run in the Megadeth solo:


The cool thing about these sorts of exercises is that the possibilities are practically endless:  you can start from the lower note (“L”) of the octave instead of the higher note (“H”), you can start adding sharps and flats and go through the circle of fifths, go up the neck as well as down the neck, try other string pairs, etc.

Now let’s try the same exercise with melodic displacement. If the above pattern could be noted “HHLL”, then this next one would be “HLLH”, with the lower octave notes between the higher ones.


This is definitely more challenging as far as alternate picking goes, but what’s cool is the way it goes against what your ear tends to expect out of this type of melody, with the back-and-forth melodic contour.

Let’s try the run with triplet notes, in “LLH” and then “HHL” sequences:


As you get more comfortable working with all of these exercises and position shifts, start working in things such as slides, palm muting, artificial harmonics, etc.

Here’s another melodic displacement variation (LHL-HLH) for the triplet run:


Stick with the alternate picking, even though it might seem more difficult at first. Again, pay close attention to the range of motion your picking hand takes as it skips the B string.

This next one will be a little more fun, allowing for more “vocalisms” from the guitar:


Instead of alternate picking every single note, use the slides on the high E string to your advantage, so you’re only picking the first two notes of each three-note phrase as it descends the scale. Try palm-muting or artificial harmonics on some or all of the notes on the G string. This is very similar to the classic Dimebag Darrell run in the breakdown after the solo of Cowboys from Hell.

To close out this exercise, let’s try a full run down the neck, combining the first two phrases through multiple (non-adjacent) string pairs:


As always, work the patterns through as many string combinations as possible, go through the circle of fifths, etc. If you have any inconsistencies in your picking-hand motion you want to work on, this is a really useful way to do that, plus the more “modern” sound of the octave interval melodies.

Below are links for a full PDF of all the examples, plus a WAV file set at 120 bpm. Good luck!

Octave Exercise

Fun With Triads: Anastasia

“Rock guitar” is obviously a pretty broad, subjective spectrum. Blues, country, metal, and even jazz contribute to how each of us perceives that category. But virtually any rock player (or any style player) should check out the Slash tribute documentary, Raised on the Sunset Strip.

Beyond the expected accolades from his peers and (former and current) bandmates, what emerges is a profile of someone who is happiest when playing the guitar, who probably can’t conceive of doing anything else. That’s pretty awesome, and is the ultimate goal for just about any player, to be able to make a living at it so you can play all the time.

Slash famously insists that he knows very little music theory, and has no formal practice routine, he just works around in the major and minor scales and blues boxes, plays patterns and things that sound good to him. He’s probably the best contemporary example of a great player who is able to play anything he wants, purely by ear and feel. Tone, taste, and technique all combine for a powerful, passionate style.

We’ve taken a look at the technical aspects of the classic Sweet Child o’ Mine intro riff, which Slash developed as a practice exercise. Let’s take a look at another great melodic intro riff of his, from Slash’s 2012 release. The song Anastasia starts with an almost flamenco-flavored acoustic melody, essentially finger-picking the chord progression, which is in the key of D minor (yes, the saddest of all keys). See tab below:


Notice the suggested fingerpicking (p=thumb; i=index; m=middle; a=ring finger). Try it also with a “hybrid” approach (pick and fingers), like this:


The picking does not have to be strictly down-up alternating, also try economy picking (in the same direction on adjacent strings), or starting with an upstroke. As the chords are arpeggiated down and then back up, the main goal is to make sure the sound is smooth and steadily “rolling” back and forth.

This progression is very similar to that of the Ozzy/Randy Rhoads classic Mr. Crowley. If you already know some or all of the classic solos to that song, it may help you get a feel for this one.

Let’s check out a couple of “exotic” scales that can be used to add a little spice to these types of progressions.

The Harmonic Minor Scale and the Spanish Phrygian Mode
Remember that there is more than one minor scale. Usually the natural minor (R 2 ♭3 4 5 ♭6 ♭7, in Dm: D E F G A B♭ C) is used for solos and melodies. But the harmonic minor (R 2 ♭3 4 5 ♭6  7, in Dm: D E F G A B♭ C#), which does not flatten the 7th, has a slightly more exotic sound which lends itself well to more “Spanish”-sounding melodies. Anastasia is one of those songs, so having a handle on the harmonic minor scale will pay off huge melodic benefits here. Just one note of difference, but you can really hear it:


As always, it’s a huge help in navigating the fretboard to map out scales in as many positions as possible. The first example stays within the 5th position, while the second example starts in the 10th position and travels up and along the neck, ending a full three octaves higher on the 22nd fret of the high E string. Learning the positional “boxes” and then connecting them is the key to fretboard mobility.

Try out this cool scalar lick based on the harmonic minor scale, designed to go back and forth through several positional areas of the neck:


The phrase in the final bar will be slightly tricky at first, but that “slide and stretch” move will pay off in developing your own wide-interval melodic licks. Throw in all the cool guitar vocalisms where applicable — palm muting, legato, artificial harmonics, vibrato, etc.

Where the natural minor scale is also a mode (Aeolian) of the major scale, the harmonic minor scale is its own scale, which means it has its own modes. (Refer to the free printable Modes cheat sheet for more information on how modes are derived from scales.)

One of the coolest modes around is the fifth mode of the harmonic minor scale. It has that quintessential “classical” feel, and has been popularized over the years by players such as Ritchie Blackmore, Uli Jon Roth, and Yngwie Malmsteen. It is commonly referred to as the “Spanish Phrygian” or “Phrygian natural 3rd (♮ 3)” mode. To play the fifth mode of the D harmonic minor scale, you start from the fifth degree of that scale, which is A:


Knowing how to spell scales and modes intervallically makes it easier to transpose them to other keys. The tab above, while derived from the D harmonic minor scale, would be called A Spanish Phrygian, since A is the root note of the mode. It still plays over D minor just fine, but the D Spanish Phrygian would be a slightly different animal.

So here is how to spell the Spanish Phrygian in terms of intervals:  R ♭2 3 4 5 ♭6 ♭7. Remember, all of those flats are in relation to the major scale.

So now to spell out the notes for D Spanish Phrygian, we take the notes of the D major scale (D E F# G A B C#) and flatten the 2nd (E), 6th (B), 7th (C#), resulting in this: D E♭ F# G A B♭ C. Check the tab below:


Both examples stay strictly within position. If you’re feeling adventurous, map the this mode out along multiple positions, like we did earlier with the harmonic minor scale, and develop melodic licks from the notes of the mode. Stay strictly within the note range of the mode before adding “passing tones” or “outside notes”. That’s the best way to train your ears to the “flavor” of any mode or scale.

Here’s another sample lick that takes you through the notes and positions:


Quick rundown of the techniques deployed in the lick:  first bar ascends through the mode in thirds; second bar uses pedal point for melodic development before a short ascending transition into the third bar, which features descending arpeggios before landing on a B♭ note (6th degree of the mode). Definitely try sweep picking on those arpeggios in the last two bars, palm muting and artificial harmonics on the pedal point in the second bar, palm muting on the first bar, etc.

Use all those vocalisms judiciously; like a master chef preparing a special dish, you try this spice and that spice until you find the right combination, you don’t throw everything in all at once.

Record a simple one- or two-chord vamp in D minor, and practice all three of the scales (D natural minor, D harmonic minor, D Spanish Phrygian). Listen closely to the differences between them, as well as the similarities.

All of the above examples and techniques are to provide some background and ideas to apply in learning the Anastasia riff. That’s the best way to learn any song and make it your own, rather than merely parroting the notes.

Back to the Song
From that soft intro the band kicks in, with Slash retracing that Dm chord progression, this time with a really cool pedal point ascending triad sequence.


Start by taking just the first pattern, and playing it repeatedly until it’s smooth and crisp at medium to fast tempo (96-120 bpm). As always, take it slow at first until you memorize the pattern, then it’s a simple matter to start moving it along the progression. Listen to how just changing a couple of notes or a position keeps the musical tension going, until it finally releases and you start the descending pattern to resolve the progression.

The way the riff alternates between the B and E’ strings will force you to really examine what your picking hand is doing. Definitely alternate pick everything, accenting only the beat notes, and keeping everything else very moto perpetuo, constant and even.

Moto perpetuo exercises are great for disciplining your picking hand to stay within a steady range of motion and pressure, neither over- or under-accenting, just playing everything smooth and clean. There’s a ton of stuff in this post to work on, so take it a piece at a time, really listen to the nuances and differences between the various scales and modes described, and experiment with what sounds good in developing a nice melodic lick, whether for a solo or for a main riff. Have fun!

More Riffs for Technique

A great way to build technical chops and musicality, and get a break from running the same old scales and patterns over and over, is to take a song or riff that can be used to highlight a certain technique, and use it as warm-up material. Let’s take a look at a few quick and easy riffs from classic (if lesser-known) songs, that will build finger independence and picking technique.

The first example is very similar to the melodic riff from the beginning and end to Rush’s ’70s epic Xanadu.


Probably the first thing you’ll notice here is that it’s in a 7/8 time signature. If you haven’t played much outside of 4/4 or 3/4, this is a good opportunity to try out a fairly simple odd time signature. It’s as simple as counting out a beat.

In 4/4 time, you would count “1-and-2-and-3-and-4-and-1-and-2-and-3-and-4-and” to play a single bar, with each counted beat being a 16th note. For the above 7/8 bar, you simply drop the last “4-and”.

So, “1-and-2-and-3-and-4-and-1-and-2-and-3-and”, repeat. It takes a little bit of getting used to, like anything else, but time signatures such as 7/8, 9/8, or 5/4, where a single beat is added or removed, are easier to adjust to.

(Using the above counting example, you would count out a 9/8 beat as “1-and-2-and-3-and-4-and-1-and-2-and-3-and-4-and-5-and“. Stick with nailing the feel for 7/8 for now.)

The next thing you’ll see is that the riff is simply the same 7-note pattern played twice, and because of the odd number, in strict down-up alternate picking, the picking pattern for the second time is exactly reversed from the first. So the first note, E (9th fret, G string) is played with a downstroke the first time, an upstroke the second time. This is a really handy riff for practicing “inside” and “outside” picking, for adjacent and skipped strings.

Finally, all four fretting fingers are used to play the riff (which is a sequenced E major scale), and in patterns you may not have practiced before.

So in one mighty little riff, you get to work on:

  • Odd time signature
  • Inside and outside picking
  • String skipping
  • Melodic sequencing
  • Finger independence

Pretty cool.

The next riff is similar to the late-’80 Yngwie Malmsteen song, Déja Vu.

MR02a MR02b

The first two bars of the riff are played four times, before shifting to the third bar. The best way to go about learning this riff is one bar at a time, putting the first two together before moving on to the third bar. Make sure you can play the first two bars together, repeated in a continuous loop (at least 4-5 times without stopping) at a modest tempo (at least 96-100 bpm) before working on the third bar.

The riff and song are in F#m, a good key for rock and metal playing. The first bar is simply a four-note ascending sequence, moving up the F#m scale (F# G# A B C# D E) one step at a time. Before getting to the E (7th degree) in the scale, the second bar of the riff shifts to a nice descending pedal-point sequence, which requires a tricky shift toward the end of the bar. Take it slow, work it up to speed, and pair it up with the first bar, before moving on to the third bar off the riff, which is an extended F#m arpeggio.

Notice that the suggested picking for the third bar mostly involves sweep picking. The fingering is only a suggestion, try different fingers, depending on where and how you decide to shift as you go through the arpeggio. The main thing, as far as the picking and fretting suggestions go, is to keep it sounding smooth and effortless.

It will take some doing to get any or all of this riff up to the tempo that Malmsteen plays in the original song, but the primary goal is just to highlight some specific techniques:

  • Alternate picking
  • Sweep picking
  • Melodic sequencing
  • Pedal point
  • Position shifting
  • Arpeggios

The final riff we’ll look at is similar to one of the main riffs from Dream Theater’s The Root of All Evil. John Petrucci is a master of fast, tricky, melodically sequenced riffs, and this is actually one of his simpler ones.


Simple is frequently more effective than complex, as far as writing songs and riffs goes, and this riff is a good example of that principle. And yet every finger is utilized, and there’s some position shifting, and the beats on which you cross from one string to the other may be a bit unpredictable at first. Melodically, Petrucci incorporates chromatic notes to nice effect.

  • Alternate picking
  • Position shifting
  • Finger independence
  • Chromatics

Have fun with these riffs, and try to think of others from songs you enjoy, that help pinpoint specifics techniques you want to work on.

Melodic Warmup Exercise

If there’s two things we like here at PTG, when devising useful exercises, one is to keep it as simple as possible, and the second is to combine musical ideas with mechanical concepts. This post and the next will show some ideas that address both those areas.

We’re going to look at the B-G-D string trio, in the seventh position. Let’s take a simple triad progression and see what we can do with it:


Pay special attention to the fingering, because this is where it becomes somewhat challenging. The first chord, A7, uses (in order from lowest note to highest) the 1-3-2 fingers, while the next chord (G with B root, also known as an inversion) is fingered 3-1-2. So as you transition from the A7 to the G/B, keep the second (middle) finger in place on that G note (B string, 8th fret). Simply switch the first and third fingers as you go from the A7 to the G/B.

Next, on the B triad, you can see that the fingering is just 3-2-1. Easy enough. This time, as you transition from G/B to B, keep the third finger stationary on the B note (D string, 9th fret). You just trade places with your first and second fingers, between the G and B strings, and 7th and 8th frets.

The fourth and final chord in our single-position mini-progression is a C triad, exactly the same as the B triad immediately before it, just one position higher. You can easily slide shift the 3-2-1 fingering up one fret to play this, but to keep this challenging (it is an exercise, after all) use the 4-3-2 fingering shown in the notation. You may want to isolate this further and just work back and forth between the B (3-2-1 fingering) and C (4-3-2) triads until it feels comfortable. This is a very simple but effective exercise for finger independence.

When you feel comfortable working through the entire four-chord sequence, and can do it smoothly and cleanly, keeping the suggested fingers in place during the transitions, you’re ready to use the progression for melodic picking exercises. Let’s take a very simple four-note version of this:


As always, start slow and smooth, use a metronome to keep in tempo, use strict alternate picking, and pay particular attention on the transitions from one chord to the next. The first transition (from A7 to G/B) may be somewhat tricky, in that you are moving your 3rd finger from the 9th fret on the G string to the 9th fret on the D string for consecutive notes. Again, take it slow and it will fall under your fingers before you know it.

As with any picking exercise, make sure to try as many picking hand techniques (palm muting, sweep picking, etc.) as you can think of. Mix and match these techniques, come up with progressions of chords and triads of your own. Use the chords section here (scroll down on that page) for ideas, and listen to how the chords flow and resolve when sequenced together.

Here’s a variation on our triad sequence, using sweep-picked triplets:


With these back-and-forth sweep picking exercises, try to achieve a smooth “rolling” sound. Observe the motion of your picking hand, and where the “turnaround” point is from downstroke to upstroke and vice versa. Instead of coming to an abrupt halt to change direction, keep it smooth and even. Think of your regular alternate picking on a single string, and how the picking motion is constant, and not start-stop-start-stop. Sweeping across multiple strings is basically an extended version of that motion, in terms of the distance your picking hand travels.

Definitely come up with chord and shape ideas of your own and put them together. Print a bunch of blank tab and chord sheets, and keep them handy when you’re practicing, so you can sketch out these ideas as you come up with them. Don’t worry too much about figuring out which scale or chord they “belong” to yet, the main thing is that it sounds cool to you, and that you get it written down for future reference. You can figure out the theory later if you want.

The next post will explore a melodic variation on the single position exercise, stay tuned!

Single String Thing, Part 2

Let’s finish up our look at scale patterns on a single string by looking at some cool melodic sequences to play along the scale. Hopefully by now you’ve mapped out the A minor scale up and down each string, and learned the pattern for each string, one at a time. (For reference, you can print the handy Fretboard Maps PDF from the Resources page; for the A minor / C major scale we’re reviewing, use the top diagram “Natural notes”.)

The examples here will all take place on the high E string, but of course it is highly encouraged that you try them out on every string, using just the notes in the scale, and paying attention to how the patterns differ along each string.

If you haven’t worked on single string scale patterns before, it may seem a bit limiting at first. But by staying on one string, and within one scale (at least at first; of course you should apply these patterns and sequences in as many keys and scales as possible), forces you to work on several important techniques:

  1. Alternate picking — Obviously this is most logical and efficient way to go on one string. But legato is also handy to try!
  2. Position shifting — As you shift, pay close attention to which fingers you use to anchor the shifts, both ascending and descending. Take it slow and use a metronome, and strive to keep the shifts smooth, even, and locked in with the tempo.
  3. Theory — Going across the neck on multiple strings can force you to think about where and what the notes are on the next string. The linear nature of a single string radically simplifies that process. Notes, intervals, and scale patterns can be easier to internalize this way.

So let’s take a look at a few sequencing patterns that can be run through the scale. The first one is a four-note pattern that ascends the scale one step at a time, and uses shift slides to make it smooth and easy, rather than stretching the hand trying to play all four notes before shifting. Use the suggested fingering and shifting:


Now let’s try the classic 1-2-3-1 / 2-3-4-2 / 3-4-5-3 / etc. sequencing pattern. Many players find this to be an easier way to play this type of sequence:


It’s tempting (and easy) to play a fast sequencing run that simply ascends chromatically, and such runs are definitely part of a well-rounded practice diet. But try staying within the scale for these exercises, and pretty quickly you’ll hear how it lends a more structured, melodic, classical sound

The next exercise utilizes the classical pedal point technique, where a scale fragment or melody is played “against” a repeated stationary note, creating a very melodic effect. Again, be sure to try these types of figures ascending and descending, and see how to “reverse” the patterns when desired.


The last exercise is a sequence found in the styles of many ’80s neoclassical shredders. It involves displacing the notes, ordering them in a different sequence, and then repeating that sequence through the scale.

Let’s take a simple 3-note sequence of notes such as A-B-C (1-2-3). Instead of just playing them in order, we’ll start the sequence with the third note, C, then go back down to A, come back up through B to C, then back down through B to end on A.

So the whole 6-note sequence goes C-A-B-C-B-A (or in numerical notation, 3-1-2-3-2-1). Here is the sequence broken down to a single-bar “cell”:


It may be awkward at first, because you should be using just the 1-3-4 (index, ring, pinky) fingers to play the sequence at this particular position, but any chance to work on that 3-4 combination is a good thing. Like anything else, take it slow, use a metronome, play it clean and accurate before playing it fast.

Using the fretboard maps as reference, simply run that same 3-1-2-3-2-1 sequencing pattern up and down through the rest of the steps in the scale, as shown in the tab below.


At faster speeds, this type of melodic displacement sounds really cool, and maybe even sounds a bit trickier than it actually is. These “impress the neighbors” runs are always fun to play, and become easier once you master the sequence and see how to move it through the scale.

Definitely get familiar with these patterns, develop some sequence ideas of your own, and run them through the entire pattern along the neck. Again, add sharps and flats as needed to try different keys, and go through the circle of fifths / fourths.

We’ll end this post with a quick variation on the 3-1-2-3-2-1 sequence we were just looking at. It simply goes from 5th position to 4th position — but of course the 4th fret on the E string is a G# note, not in the A minor / C major scale. The G# pushes the tonality to E major (E-G#-B triad), which harmonizes well against A minor. Simply play this bar over and over again until you get the hang of it. Listen to how the sequence “resolves” musically. Experiment and see where other sequences outside the scale can fit in and sound good.


Use the 1-3-4 fingers for the A minor (5th position) part, and 1-2-4 for the E major (4th position) part, so you get to use all four fretting fingers. Just go back and forth between the two until both feel smooth and easy to play and shift between. It’s a great little exercise for picking and for ear training.

As you practice all these variations, in different keys and on different strings, be sure to keep some blank tab paper handy, and listen for interesting sequences to put together, so you can write them down as soon as you can. Good luck and have fun!

Single String Thing

In past posts, we’ve concentrated on a variety of ways to play scales, but generally on forms and patterns that use most or all of the strings. Those tend to be the most efficient as far as maximizing fretboard navigation goes, and there are lots of cool sequencing patterns that can be developed from those scale forms.

But single-string scales are pretty cool too, and in fact have benefits as well for navigation, and for developing cool sequencing patterns. It’s just about impossible to know too many different ways to play a particular scale.

As always, we’ll use our trusty A minor (C major) pattern, since there are no sharps or flats. Here’s the scale played along the high E string:
Spelled intervallically:

Check the tab below, and play the scale ascending and descending, using the suggested fingering:


It’s possible to play as many as four notes along the string before needing to shift position, but it is highly recommended to play no more than three notes before shifting, especially at first. It’s easier to maintain control moving up and down the neck, and the shifts are shorter in distance.

This is a great single-string scale exercise to reinforce that principle.


Here’s the same exercise in groups of four, the “three against four” rhythm always sounds cool!


Now let’s map the same scale along the B string:

Don’t worry about starting or ending on the root as you play through the scale patterns, just play as many of the notes of the scale as you can along a given string.

Moving along to the G string:

Using the Fretboard Maps PDF from the Resources page, map out the scale on the other strings (really just the D and A strings, since of course the pattern on the low E is the same as the one on the high E), and play them all. In the next post, we’ll go over some cool sequencing patterns, stay tuned!

Kreutzer #12 Finale

Let’s finish off the Kreutzer #12 with the last ten bars. Not only does the progression shift substantially, going Bb-Eb° before heading back to the more familiar Am-E, but the sequencing patterns begin differently than before.


Make sure, as you continue to refine and internalize the various patterns and sequences in this piece, that you go back and try applying, for example, the sequencing patterns from bars 23 or 27 to bar 1 or bar 5. The main thing here is to master all the triad shapes shown throughout; once the shapes are familiar, they can be sequenced in any way that sounds good to you.

The piece concludes with a return to the home key of A minor, finishing off on the high A note. (Something to try:  what if that final note was an A major chord instead?)


Hopefully you’ve enjoyed this piece, and gotten some cool ideas for sweep picking, arpeggios, triads, and sequences from the material. We’ll do a follow-up post soon with explanations and printable cheat sheets for triad shapes and circle of 5ths.

The PDF link below contains the entire tab (and notation) for the piece, suitable for printing and easier reading. Have fun!

Kreutzer #12 (full)

Kreutzer #12, Part 2

Continuing on with the Kreutzer #12, let’s see what the next several bars look like. While the chord sequence of the first 8 bars (Am-Dm-G-C) is the start of the classic “cycle of 4ths” progression, instead of going to what would be the next step in that cycle (F), the next arpeggio turns out to be E major, followed by A minor (E-A being yet another 4th interval), and then a nice melodic move by shifting from A minor into A diminished, and briefly nodding back to E major in bar 14. See tab below:


Notice how the A°/E arpeggio sequence in bars 13-14 deviates from the pattern established by all the previous arpeggios, at first starting out the same, then shifting back down for the second half of bar 13, then the doubled-up first notes of the E triads in bar 14. This adds a nice change of pace, in terms of style and flow.

The next eight-bar section returns to the original sequencing pattern, starting with an E major inversion (the first note of the sequence is G#, which is the second note of the E major triad). From there the progression returns to A minor, then to B diminished, then back to an A minor/C inversion:


Unlike the earlier A° arpeggio, the B° arpeggio in bars 19-20 conforms to the main sequencing pattern set by almost all the previous bars. Again, this is a great extended sequencing pattern to learn, and it’s a terrific exercise to map it out in reverse and play it. Print some blank tab pages from the Resources page and give it a shot!

In the next post, we’ll finish off the #12, and then follow up with another post spelling out some of the concepts (triad shapes; adjacent string trios; cycle/circle of 4ths/5ths) in greater detail.