Just a friendly reminder — the entire PTG catalog for Kindle will be available for FREE downloads all Labor Day weekend, August 29th through September 1! Get literally hundreds of hours of practice material that will help you build your technique and musicality, ABSOLUTELY FREE!
Do you like guitar? Do you like free stuff? Do you like free guitar stuff? Should we feel ashamed at asking such obvious questions?
Well, to celebrate the Labor Day holiday weekend, and because we appreciate you, the entire PTG Kindle library will be up for FREE downloads for four days, August 29th through September 1st!
You know the drill — grab ’em all, tell your friends, drop some reviews on the Amazon pages. Most of all, play hard and have fun!
For the upcoming Memorial Day weekend, the entire PTG catalog will be either discounted up to 75% or FREE.
Presto and Climbing the K2 will be available for free downloads on May 25th and 26th, while Practice Power, Pentatonic Licks & Sequences, and Hanon for Guitar: Inside Out will be on a Kindle Countdown from May 24th through the 26th. For the Countdown deals, prices start at just 99¢ on the 24th, then go to $1.99 on the 25th, and $2.99 on the 26th.
Get loaded and ready for a summer of great guitar playing, for less than a cup of coffee!
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!
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.
It’s time for another installment in our ongoing series, “Better Know a Kreutzer Etude.” The etude we’ll be looking at today is #12, a deceptively simple piece that serves as a fantastic crash course in triadic arpeggios. (If you’re not familiar with triads, or just need a refresher, please refer to our PDF cheat sheet.)
This piece is 32 bars long, somewhat longer than the other Kreutzer etudes we’ve covered, but still very manageable. Compositionally, the #12 consists of sequenced, arpeggiated triads, spread over two bars and spanning as much as 3 octaves each. Let’s take a look at the first four bars and see how that lays on the fretboard:
Right away you can see where maintaining strict alternate picking will be something of a challenge. Let’s take a quick look at the music itself first, and then we’ll show some picking options for consideration.
The piece is in the key of Aminor, and starts off with an A minor triad (A-C-E) played in an ascending sequence that spans three full octaves. The very first 4-note grouping simply ascends, A-C-E-A’. Each successive 4-note grouping, however, goes up to the next step in the triad sequnce, then down and and back up. So the second 4-note group goes C’-E-A’-C’, the next one goes E’-A’-C’-E’, and so on. This is a common scale sequencing device, and is certainly a valuable one to apply to triads and arpeggios.
The vibrato shown on the sustained notes ending bars 2 and 4 is not in the original score. But anyone who has checked out the scores for the Kreutzer studies knows that many of the pieces have an abundance of suggested variations, such as different bowing and fingering techniques. It’s important to learn these piece as written, but it’s just as crucial to find ways to make them your own at some point, to infuse them with your style and personality.
So each successive 2-bar figure features one of these extended triad sequences; bars 3-4 feature a D minor triad (D-F-A) that also spans three full octaves. Notice how the shapes along the 1-2-3 (E’-B-G) strings are the same for A minor and D minor, just at different locations. This piece will take several posts to break down and tab, and at the end of the final post in the series, there will be a PDF link for the entire tab, as well as a handy cheat sheet showing all the shapes for triads and inversions along the various adjacent string trios (E’-B-G; B-G-D; G-D-A; D-A-E). For now, as we go along, keep an eye out for how these shapes lay on the fretboard for each type of triad (major, minor, diminished, augmented).
Going back to the picking situation: while again it is definitely challenging to play these types of arpeggios with strict down-up alternate picking, unless you’re experienced with sweep or economy picking, it is recommended that you stick with alternate picking at least long enough to learn and internalize the arpeggio shapes. Since alternate picking is basically the “default” method for efficient playing, it’s one less thing to have to think about while learning what can be fairly complicated patterns and shapes.
Once you have those shapes dialed in, though, here are a couple of more efficient ways to play that first extended A minor arpeggio sequence:
Both of these are essentially sweep picking variations; this piece is a classic example of the type of music for which sweep picking was developed in the first place. The first variation attempts to make efficient use of the picking hand’s “return” motion (i.e., coming back up to set for the next down-picked shape), by using an upstroke at the “turnaround” point. The second variation uses legato (hammer-on) for any note on a string beyond the first note, and then nothing but downstrokes.
Try both variations, see what feels comfortable to you. As always with sweep picking, make sure every note sounds smooth and even, not dynamically louder or softer than the others. Don’t “choke” a note too soon, let it have its full duration before going to the next note. You may find that some combination of the two variations works best for you.
Let’s wrap up this post by checking out the next 4 bars, which consist of a G major arpeggio, followed by a C major:
Again, pay attention to how the shapes for major and minor triads tend to fall along these string trios. Learning the shapes, and how to work them anywhere on the fretboard, will help your navigational and improvisational skills enormously. It’s time well spent.
To recap the first 8 bars of the Kreutzer #12: Am-Dm-G-C. In music theory terms, this is the start of a cycle (or circle) of fourths (intervallically). We’ve mentioned the circles of 5ths and 4ths before, and there will be a cheat sheet explaining the concept in more detail on the Resources page in the near future. It’s yet another very powerful tool to have at your disposal.
So practice these shapes, try a few different picking styles, play them descending as well as ascending if you’re feeling ambitious, and we’ll continue working through the #12 later in the week.
Let’s finish off the Kreutzer Violin Etude #3. Section C starts from the middle of bar 12, riding a cool descending 4-note triad pattern all the way to the middle of bar 16. Check the tab below:
Since we know that a triad, regardless of type, is made up of stacked third intervals, and is spelled R-3-5 intervallically, this 4-note pattern is relatively simple to break down. Using the up-down arrow notation from before, the pattern goes up a third, down a fifth, then up a third, which returns to the first note of the 4-note phrase (↑3↓5↑3).
Just as intervals are the most basic building blocks of music, triads are the next logical extension of intervals. You can’t go wrong with learning and devising as many triad patterns on two and three strings (or more, for open-voiced triads, but we’ll cover that in another post) as possible.
Check out the basic descending 4-note triad pattern in the tab below. The 3rd note of each 4-note phrase is the root of each respective triad, so the 8 triads descending through the octave are: F major, E minor, D minor, C major, B diminished, A minor, G major, and F major. Even though it starts and ends with the F major triad, the sequence actually consists of the C major triads, as we’ll see in a minute.
Now let’s take the above triad sequence, and re-organize the 4-note patterns into the same order as the #3 etude.
It’s always useful to work melodic shapes along all possible string configurations, so for this example, make sure to map it along the other adjacent string pairs:
The etude ends with an arpeggio spanning an octave and a third (C to E’down pattern and playing it over and over again until it’s smooth and clean.
Here are the neck diagrams for the sequence of triadic arpeggios through the C major sale:
The corresponding tab is below. Again, try both alternate and sweep picking. The B diminished arpeggio is set up for string skipping, as it is simpler and cleaner that way.
The links below are complete tabs for the entire piece. The second version contains the alternate B section shown in the Part 2 post.
While the piece (like anything called an “etude”) itself is an exercise, the custom exercises designed around the sections will help you isolate associated techniques. Use the exercises to devise shapes and ideas of your own, to use as melodic phrases in your solos. Have fun!
While the brief intro section of Kreutzer Etude #3 probably did not take you too long to get a handle on, we loaded you up with several exercises based on the intro motif. The exercises are designed to work on melodic sequencing, and will also help a great deal with fretboard navigation, as they go up and down the neck along adjacent string pairs.
Let’s take a look at Section B of the etude, which takes up the majority of the piece, from bar 4 up through about halfway into bar 12. When you see the tab you’ll understand why that point makes an ideal spot to section off:
As mentioned in the previous post, Etude #3 is an interval exercise, specifically thirds. It is in Section B where most of the work on thirds is done. The entire section is essentially an ascending 6-note figure, comprised of thirds ascending stepwise through the scale, then connected by a 2-note scale-step descent, into the next climbing 6-note figure.
Let’s break down Bar 4 to see how that works. The notes for the first 6-note figure are: B-G-C-A-D-B. Each note pair is a descending third interval: B down to G is a third, as are C down to A and D down to B respectively. (Be sure to check out the free Intervals cheat sheet on the Resources page if you need a reference or a refresher on the interval terms.) So you have three (3) third intervals grouped together, ascending one step at a time up the scale, right?
Now, after that 3rd (D-B) third interval (sorry if this is confusing), the figure goes to the next scale step, E, and then descends back to the D note, to set up for the next 6-note figure, which starts one scale step higher than the previous 6-note figure. This repeats through the following 7½ bars, a total of 17 times, more than 2 full octaves.
It makes sense to play the 3 thirds in each 6-note figure “in a row,” so to speak, and for the most part, they are tabbed as such. But there are bars where they are tabbed to minimize position shifting, which may be slightly more difficult to finger and learn. So below is an “alternate” way to play the section, where each successive trio of thirds stays on its respective string pair:
As we’ll see with the exercises for this section, there are only a couple of fingering patterns to learn, for thirds along a given adjacent string pair. So you may find the second tab for this section simpler to learn and play. Whatever works — in fact, any tab is generally a suggestion, although one based on experience and practice. But the bottom line is that if it makes more sense to you to play a note or phrase at a different spot from what’s in the tab, go for it, as long as it doesn’t run counter to the overall goal of the technique the study is designed to address.
To reinforce the concept of thirds and their patterns, practice the exercises shown below for adjacent string pairs:
There are two fingering patterns for the B-G string pair, and one of those is also one of the two fingerings for all the other adjacent string pairs. The fingerings themselves should be apparent; for the double-stops on the B-G pair, try using one finger and two fingers, both ways can be applied in various playing situations.
As far as picking, start with down-up alternate, try up-down, and if you’re feeling ambitious, try economy picking (down-down or up-up).
Below is the C major scale in third intervals, going up the B string:
Needless to say, map out the scale on all strings, and play it in thirds as shown above. Then take it through the circle of 5ths/4ths, adding a sharp or a flat as you through the circle.
Finally, check out the melodic figure based on ascending and descending 3rd intervals, shown below:
As with the exercises from the previous post, be sure to come up with your own variations on these useful intervals. Listen to how they sound, and how a major 3rd sounds different from a minor 3rd. Experiment with different combinations of patterns and intervals.
We’ll close out the etude over the weekend. See you then!
We’re about to release the biggest, baddest guitar book yet, called
5060 Hot Pentatonic Licks, and to celebrate, we’re going to make this Friday (the 13th) your lucky day! This Friday and Saturday, the entire PTG catalog will be available for free download! Catch ’em all at the links below:
Make it a lucky Friday the 13th with FREE guitar books!
As you may have seen in the news, we’re in the middle of a brutal heat wave out here in California, making it pretty unpleasant to work or play guitar or do much of anything besides languish in front of a cool fan with a cold drink.
That said, we are still on track to release the next book in our Master the Classics! Series. Presto takes the classic Bach piece from the Violin Sonata #1 in Gm (BWV 1001), and works it every which way. The book will feature musical analysis of every part of the piece, and it is tabbed in two octaves, with plenty of great melodic shapes to learn and apply to your own playing. Best of all, there are dozens of exercises based on the music, featuring classic shredder techniques such as sweep picking, string skipping, pedal point, and more!
Whether you’re a novice player looking for tips on building technique, or an experienced shredder looking for more and better practice material, Presto will have something for players of all styles and skill levels.
So while we’re finishing up editing, formatting, and cover art, here’s another excerpt from the book:
The diagram below shows the G harmonic minor scale notes (other than open strings) from the 1st through the 12th frets:
Carefully observe how the scale lies across the fretboard, and see how you can create various useful fingerings for this scale, using any number of strings (including just one string). Here’s the tab for a standard six-string fingering at the 3rd position:
Here’s an alternate fingering that’s great for working up the neck quickly:
Use the suggested fingerings and slides, take it slow at first, and you should be ripping it up in no time.
A lot of the counterpoint and melodic motion in the Presto takes place within a single octave of the G harmonic minor, so these next few exercises will focus on a snapshot of the fretboard:
Here’s the tab:
Even though the shift to the B string is two frets, it should not be too difficult to handle. Run it back and forth until it’s fast, clean, and smooth. Since all four fingers are used at some point or other, it makes an effective warm-up exercise as well.
Now what if we start this scale sequence one scale degree down, like this?
Since it’s starting from the 7th degree of the scale, this is considered the seventh mode of the harmonic minor scale. It is commonly known as the Ultralocrian. Where the Locrian mode (seventh mode of the major scale) is spelled out (relative to major scale) R-b2-b3-4-b5-b6-b7, the Ultralocrian spells out (again, relative to major scale) R-b2-b3-b4-b5-b6-bb7; every note other than the root is flattened, and the 7th degree is diminished (flattened twice).
The harmonic minor scale and the Ultralocrian mode each have their own distinctive “flavor” that works well over certain types of progressions. It’s definitely worth the effort to get familiar with these scales.
Let’s run this up and back in thirds, along the D-G-B strings:
There are some twists and turns in there, so take it slow and use the recommended fingering. There’s a balance of one-string and two-string third intervals throughout, demonstrating the importance of learning intervals every way possible.
Hope you enjoyed the excerpt. Presto will be available on Amazon July 4th, and we’ll kick off the release with free downloads all weekend (July 4-7)! Stay tuned, and check in as this week moves along, as we’ll have an excerpt from the other forthcoming book as well.