Singer-Songwriter/Multi-Instrumentalist Unveils One-Man-Band ROCK Record on the INTIMATE AUDIO label:
GUITAR PLAYER MAGAZINE says: "Smart pop tunes that are crammed with interesting guitar parts and tones ... Like what the Beach Boys might do if they were on an acid trip that was on the verge of getting out of control. Yeah!"(CLICK for more Info)

With Chromatic Embellishments (Part 2)

Back in Lick #11 we explored a chromatic concept à la Jason Becker as can be applied to arpeggios—specifically, approaching each chord tone via a hammer-on executed from 1/2 step below and inserting string skips at particular points. Interstingly, this approach makes it possible to whip through all sorts of intervallic sounds using only the index (for the chromatic “lower neighbor” tones) and middle (for the hammered-on chord tones) fingers of your fret hand.

In this arpeggio etude, the concept described above is used to outline the changes of the shred-friendly progression often associated with Pachelbel's Canon: I-V-vi-iii-IV-I-IV-V. In the key of C, this harmonic analysis (the preceding Roman numeral stuff) translates to the following progression:

C(I) - G(V) - Am(vi) - Em(iii) - F(IV) - C(I) - F(IV) - G(V)

Note: Some forthcoming “shred” examples will also revolve around this progression, so now's a good time to get your feet wet!

For maximum benefit, instead of blindly allowing your fingers to “do the walking,” make every effort to be aware of (and eventuallty memorize) each of the three chord tones that comprise the following arpeggios shapes (appearing in frames—with roots highlighted—over each measure in the TAB example):

  • C (C-E-G)
  • G (G-B-D)
  • Am (A-C-E)
  • Em (E-G-B)
  • F (F-A-C)
  • C (C-E-G)
  • F (F-A-C)
  • G (G-B-D)

(*You can hear the lick FAST by clicking HERE*)

(*You can hear the lick SLOW by clicking HERE*)

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