PROG -

GNOSIS
TOSIN

JIMMY HUBBARD
ABASI
THE UNDISPUTED
MASTER OF THE
SEVEN- & EIGHT-
STRING GUITAR
REVEALS HIS PLAYING
AND PRACTICING
SECRETS!
CONTENTS
1 animal instinct Tosin Abasi
Getting a feel for picking
performs with
techniques with the track
progressive-
“Somnarium”
metal act
Animals as
2 economies of scale Leaders. They
Making effective use of economy
have released
picking, and how I play my solos
two albums:
in “Somnarium”
Animals as
Leaders and,
3 INTER-PLANETARY Weightless,
EXPLORATION available on
How to play the outro guitar
Prosthetic
solo in “Earth Departure”
Records.
4 double up
Double picking, and the first solo
in “An Infinite Regression”

5 thumbs up
How to play the thumb-slapped
intro to “An Infinite Regression”

6 lucky sevens
Making odd meters feel natural,
and how to play “Cylindrical Sea”

7 six sense
Playing in 6/4, and the hybrid-
picked arpeggios in “David”

8 six of Another
More on playing in 6/4 meter, and
how I perform the hybrid-picked
arpeggios in “David,” part 2

9 voicing opinions
Devising chord voicings on
the eight-string guitar

10 turn on the heat

Effective ways to warm up
both hands

11 rollercoaster ride
Seven-string arpeggios

12 two-hand touch
JIMMY HUBBARD

Examining the two-hand tapping

and odd-meter phrasing in
“Isolated Incidents”

13 connect the dots

Analyzing the harmonized melody
lines in “Isolated Incidents”
 animal instinct
1
chapter

Getting a feel for picking techniques

with the track “Somnarium”

Hello everyone and Eight-string guitar arranged for seven-string guitar

welcome to Prog-Gnosis, my Eight-string
FIGURE 1 guitar arranged for seven-string guitar
Guitar World instructional Fig.
FIGURE 1 1A¨maj7 Bmaj7
DVD. Over these 13 lessons, I’ll be w/hybrid
A¨maj7 picking Bmaj7
demonstrating some of the techniques let ring throughout

 1 
1 w/hybrid picking
and approaches I rely on in the writing 3 7
let 5ring throughout 4 6 4 8 9

  
and performing of the music I play with 3 5 3 5 35 3 8 8 7
5 3 5 4 6 4 6 8 8
9


my band, Animals as Leaders. Hopefully,
5 3 5 3 5 5 3 87 8

4 6
you will find these ideas useful in your 5 3 5 6 8
own musical endeavors. 4 6 7
I’d like to begin with a look at some Emaj7 C7sus A¨maj9(+5)
excerpts from the song “Somnarium,” 4

 
9 7
from the Animals as Leaders album Emaj7 9 11 9
C7sus A¨maj9(+5) 8
4 8 8 8 9
Weightless. The majority of the music I 10 8 10 10

 
7 9 7 11 11
play with the group is performed on an 9 11 9
8 89 7 8
8 9
12
8 9
eight-string guitar, tuned (low to high) E 10 8 10 10
B E A D G B E. In the examples included 7 11 11
9 7 D¨m 8 12 A¨maj7
7

here, the parts have been arranged for 9


8 11 12 8 11 9

0
seven-string guitar (low to high, B E A D 9 9 9




8 9
G B E). If you have only a six-string, fear D¨m 9 8 6 6 5
5 A¨maj7
7

7 6 4


not, as only one note—the low Af at the 8 11 12 8 11 9

0
9 9 9 4 0 4


beginning of bar 6 of FIGURE 1—is played


8 9 9 8 6 5
on the seventh string. On a six-string, this 6 5
note can be played at the fourth fret on 7 6 4
FIGURE 2 4 0 4
the sixth string, though a quick shift up to A¨m7 Asus2
ninth position will be necessary to play the 11 w/hybrid picking
Fig. 2 
 2 
notes that follow. 2 4 2 7
FIGURE 0 4 0 4 4 10

 
The opening riff to this song was 3 3 6 9

A¨m7 4 2 4 1 Asus2
written as an etude that I could use to 0
11 4w/hybrid picking

  0 
practice my hybrid picking—the pick-hand


2 4 2 7
4 0 4 4 10


technique that combines flatpicking and
3 3 6 9
FIGURE 3 
fingerpicking. Throughout bars 1–5 of 4 2 4 1
FIGURE 1, I pick the lowest note of each 0
4
Emaj9 Bmaj9 A¨m(maj7)
figure with the pick and follow it with
w/hybrid picking
fingerpicking, using my middle finger,

  33  6  

ring finger and pinkie to sound the notes 11 12 11 6 6 7 6 3 4 3 3 3 4 3
Fig.
FIGURE 0 0 0 0

 
11 11 6 4 4 4 4

on the higher strings. You’ll find some
challenging pick-hand movement through
Emaj9 Bmaj9 A¨m(maj7)
 12 11  
12w/hybrid picking7 7 4 4 4
this section as well as nice harmony as you

    

shift from one chord form to the next. 11 6 6 7 6 3 4 3 3 3 4 3
0 0 0 0

 
In bar 6, outlining the Afmaj9(+5) 11 11 6 6 4 4 4 4
chord, I switch to alternating between a

   
flatpicked and a fingerpicked note, and 12 7 7 4 4 4
then I wrap up the phrase in bars 8 and 9
with a combination of alternate (down-
up) and economy picking. Economy pick-
ing, also known as “rest-stroke” picking, higher to lower strings. Notice also the inclusion of a The last riff included here, illustrated in FIGURE 3,
entails the use of the same pick direction single bar of 3/4 in bar 5 alongside a basic 4/4 feel. begins at 1:39, and I consider it to be the “hook” of the
when moving from string to string. In bar The riff in FIGURE 2 follows immediately on the song in that it is repeated many times. Harmonically,
8, there are two areas where three con- heels of FIGURE 1, entering at 0:29 seconds into the I begin by moving maj9 voicings down the neck,
secutive notes are performed by playing track. I use the same approach but shift from Af major but I wrap it up with a slight twist, incorporating
one note at a time on successively lower to Af minor. Using a similar motif but transforming it m(maj7). Also, the rhythmic syncopation of the figure
adjacent strings. This also occurs on two to a different tonality is a great way to expand on any causes it to sound like the beat is turning around with
strings in bar 9. For these notes, I use con- musical idea. This figure is again performed with a each successive phrase, but, in fact, I think of it as
secutive upstrokes when moving from combination of hybrid and economy picking. alternating bars of 4/4 and 3/4.
 economies of scale
2
chapter

Making effective use of economy picking,

and how I play my solos in “Somnarium”

In this chapter, I’ll show

you what I play for two of the
solo sections in “Somnarium.” Fig. 11 Eight-string gtr. arr. for seven-string gtr. (low to high, B E A D G B E)
FIGURE
These solos are played over the parts
FIGURE Emaj9 Bmaj9
1 Eight-string gtr. arr. for seven-string gtr. (low to high, B E A D G B E)
illustrated in the previous chapter.
   
Emaj9    Bmaj9       
 12 14 11 12          16 18 19 16 
The majority of the music I play with

 12 11 12 11 14 11 12 11 13 
AAL is performed on an eight-string guitar, 12 11

 13 14 16 18 15 
  13 14  16
tuned (low to high) E B E A D G B E. In 16 18 16
13 16 18 19
 

the examples included here, the parts have 11 11 14 13 14 16 15 16 18
been arranged for seven-string guitar (low 13 13 13 14 16 18
14 13 14 16 13 14 16
to high, B E A D G B E). If you have only


a six-string, the great majority of what is
          
A¨m/maj7
written here can be played on it. FIGURE 2,
 
          18    
A¨m/maj7
 
for example, depicts my primary solo on
 18 16 16 15 17  18 16 16 15 17
18
16 16 16
16 
the song, and there is only one note that is

 
played on the seventh string. 15 16 18
15 17 18
FIGURE 1 is an arpeggio-based 16 15 18 14 16 18 15 16 18 16 15 18 14 13
17 15 17 18 17 15
pattern that I play over the “chorus” of 18 14 16 18 18 14 13 16 12 11
“Somnarium,” specifically the part that 15
16 12 11
switches repeatedly from 4/4 to 3/4 FIGURE 2
Fig.A¨maj7
2
 Bmaj7 11
(and which may also be thought of as Bmaj7
FIGURE 2

consecutive bars of 7/4). The pattern

   11 12 14 11
A¨maj7
12 13 13 18 18
moves harmonically from Emaj9 to Bmaj9 11 11 17

  
to Afm/maj7. I begin over Emaj9 with 12 13 12 10 12 13 18 18 16 12 13 12 12 13
11 11 17 15 13 11 12 14


straight descending arpeggio figures that 12 10 12 16 12 13 12 15 11 12 13 13
are played in groups of steady 16th notes. 15 13
15 11 13
By the second half of beat two in bar 1,
I’ve switched to a long ascending line that 3
Emaj9 C7sus4
3

 10 
is performed using economy picking. Bar 12 14 12 11
3 is again split between arpeggios and Emaj9 14 12 11 9 C7sus4 10  11 9 14 13


12 14 12 11 11 9 8 8
ascending figures, followed in bar 4 by a 14 12 11 9 11 9  11 9 14 13
 10
10
long descending arpeggio across the first 11 9 8 8
11 9
through the seventh strings.
The descending arpeggios used to start
this riff are executed with reverse sweeps, A¨maj9(+5)
 18 18 17 17 18 18 16
as the pick is dragged in an upward 16 16 20 20 23 23 24 24 21 23
A¨maj9(+5) 16 17 17 16 16 17 17 21 21

 16 16 18 18 19 19 17 17 18 18 16 16 17 17 17 17
motion from higher to lower strings. I 17 17 16 16 20 20 23 23 24 24 21 23
16 16 17 17 21 21
then use economy picking to play the
subsequent ascending line. Economy
19 19
picking is best described as a technique 16 16
wherein the same pick direction is used D¨m A¨maj7

  15 12 12 13  10
to sound notes on adjacent strings: when 23 21
D¨m A¨maj7
moving from a lower to a higher string, 21

 13 
212018 18

23 21
21 18 18 18 16
18 182019  161819 16 1918 15 15  12 12 13  10
the last note on the lower string and the
212018 21181920 18 16 16

first note on the higher string are each 18
21181920 16 16 13

picked with a downstroke. When moving
2019 161819 1918 15
from a higher to lower string, consecutive
 
upstrokes are used in a similar manner. Bmaj7 Emaj9 C7sus4

    11 12  14
15 14 13 12  11 9 11  8
Bmaj7 Emaj9 14 14 11 14 15 C7sus4
14 11 14 15  15 14 13 12  11 
I’ve found the technique invaluable for

 11 12   9 11  8
performing challenging figures with speed
and precision.
FIGURE 2 illustrates the main solo,
10 8 !
10 8 !
10
 8 8 12
 

10 8 10 11 8 10 11 8 12
which is played over the song’s opening— 8

A¨maj9(+5) 
and primary—rhythm part. I use arpeggios
8 10 11 10 11
8 3
along with “linear” excursions, and I D¨m
3 

stick closely to the Afmaj7-Bmaj7-Emaj7- A¨maj9(+5) D¨m
 99 
8 11 9


C7sus4-Afmaj9+5-Dfm chord progression. 9 9


9 9 8 6
99
8 11 9


Every lick sits squarely over the 9 10 10 10 9 6
accompanying chord. Starting in bar 6, I
incorporate a “double-picking” technique, 
10 10
9 11
11
10
7 11
7 11
8
6
6
9 8
6
6 7
7
 6 4
6 4
7 6 ! 6


wherein each note is picked twice within 8 7 6 ! 6
a steady rhythm of 16th notes.
 INTER-PLANETARY EXPLORATION
3
chapter

How to play the outro guitar solo

in “Earth Departure”

“Earth Departure” is Eight-string guitar arranged for seven-string guitar (low to high, B E A D G B E)
one of the most adventurous
Eight-string guitar arranged for seven-string guitar (low to high, B E A D G B E)
tunes on the Animals as Leaders Fig. 11 “Earth Departure” outro solo (4:29-4:50)
FIGURE

Eight-string guitarDeparture”
1 “Earth arranged for seven-string
Eoutro guitar (low to high, B
solo (4:29-4:50) E AC#m
D G B E) E
  
FIGURE B5
for
E 14 14  11 11
album Weightless. The song features some Am D#5 A
Eight-string
FIGURE 1 guitar
“Earth arranged
Departure” for seven-string
outro solo guitar
(4:29-4:50) (low

to high, B E

A
 
D G B E) E
  
 AA
12E 14 14  11 11
very intense, complex figures that require 1 B5 Am D#5 C#m
    A 
 
Eight-string guitar arranged 12 seven-string guitar (low to 9 B
high, 9 11
E A11
DG
FIGURE 1 “Earth Departure” outro solo (4:29-4:50) 9 B9 E)
12E 14 14  11 11   
extremely tight band interplay. To my 1 B5 Am 13 14 12 13 14 9 12 12 7E
9 D#5 C#m


       A 
14 9 11 11
way of thinking, much of the song is in “Earth Departure” outro solo (4:29-4:50)
 
FIGURE 1
12outro 14  (4:29-4:50)
Eight-string
1 B5 Amguitar
14 arranged
12 13 for seven-string guitar
14 (low
9 12to
12high, B
9 D#5 E A D G
C#m9 B9 E)
7E

  3
   
9 11 11

   
straight 4/4 time, but it doesn’t sound 12 14 15 13 14 14

12 14  (4:29-4:50)
 
Eight-string
1 B5 guitar
Am 14
“Earth arranged
12 13
Departure” for
E seven-string
14 solo
guitar
14 (low
9 12to
12high, B E
D#5 A D G
C#m9 B9 E)
7E

1 
FIGURE 12
1 14
   A
like it because many of the rhythms are 15 13 14 14 11 11 9 9 11 11

9 9 7
1 “Earth 12 13
Departure” 14 9 12 12 9 9 7
Eoutro
14 solo
14

14
FIGURE 12
1 14
12B5143 Am15Am14 
3  12 14 14  11A  11
  E A 
based on unusual 16th-note syncopations B5 Am 13
15 14 14 11 11 9 D#5
9 11 11C#m E
 9 12 12 9 9 11 11 9  9 7
3 3
12 13 14 9 12 12

4 
12 14 14  11A 11  
and odd-length phrases. In this chapter,

13 14 14 E D#5 C#m
 127 143 Am15 14E 133 14B¨m   
9 9 7
I’ll analyze the song’s outro guitar solo, E 3 B¨m
14 12 13 14

    11 
4 
9 9 11 11
  
which is one of my favorite solos on the 3 14
12 13 14 9 12 12

4  
3 Am 
15 E 3  11B¨m103 11 10 13  9  A8 11 9 8 11 9 7 6 9 7 5 6  9 6 81311 
record. 13 14 14 10 13  9
 127 14
12 3
14 Am15
10 14 E 3 B¨m 3 8 A8

 
7

As you know, the majority of the 11 11 10 11 11 9 8

4   11 3 11B¨m1033 11 10 
10
11 6 813
8

 77 33 Am 9 7 5 6  9 
music I play with AAL is performed

10 E 3  11 
11
13  9

on an eight-string guitar, tuned (low to
Am
10 E 8 A8 11 9 7 6

  11  11
  A 11 11 9 8
9 7 5 6  9 6  11 
4    
high) E B E A D G B E. In the example B¨m105:4 10 13
8 9 8 11 9 7 6 11 6 8 13

4   
11
  A 11 3 9 8 5
9 7 5 6  9 6  11 
10 
included here, the solo has been 10
Am 11 E B¨m105:4 10 13
8 9 8 11 9 7 6 11 6 8 13
 B¨m 111113 105:4
11 11
10 13  9  8 3
3 9 8 5

 7 1011
7
B¨m G#
7  10 13  9  G# 11 6 8 13 11 
arranged for seven-string guitar (B E A D
 
8 11 9 7 6 11 6 8 13
G B E), but a six-string will work just as 5 9 7 5 6 9 6
 11  11 10 16 11 14 13  13 11 
11 11 9 8

 8 10 15 11 13 16 14 13 13G#3 14 13  515 13 

11  9 6 8
5:4 8 8 3 11 9 7 6

9 7 
well, as there is only one note—the first 5 6

7  B¨m  14
B¨m G#11149 8 9 7 5 6 9


7


14
 11 
note of beat four in bar 6—that is played 5:4 11 9 7 6 6 8 13

7  B¨m   
5 6 9

 8 10 15 14 11 13 5:416 14 13 13G#3 14  

 13 9 66 8 11 
on the seventh string. 1311
11 13 16 14 13 13

7  B¨m  14
8 10 15 5:4 G#3 5 9 8

11 13 16 14 13

FIGURE 1 illustrates the entire 14-
 13 9 8 11 
13 15 13
bar outro solo. Tonally, the solo revolves
 B¨m   
14 13 515 13
 13 9 38 11 
7    8 10 15 6 F#m 11 13 16 14
13

around an E major/Cs minor axis, but 8 10 15
14 3 G# 14 13 15 13

11 13 16 14
 13 9 38 1611 19 

6
there are a few other elements thrown in

13 13

3

11  
710 C#m 13 15 13


14 14
10  
that shake up the harmonic environment.

 
13 13
 
8 10 156 F#m 3 3

11  
I begin the solo by playing over a quick 14 C#m 14 13 15 13
10  
13 14
8 10 156 F#m 9 38 16 19
 99 11 69 12F#m9 12 9 113 12 C#m
3 13

B5-A chord change, followed by E, start- C#m 13 15 13 13 14
10 
11 11 13
ing with an eighth-note triplet line based 13 3 16 19

9 11 14 11 14 11 14
14
10 
on A melodic minor (A B C D E Fs Gs). 14 11 11 13 16 19
11 9 F#m 9 113 C#m
9 11 14 11 14 11 14 13 3
14 3 
6 12 9 12 14
10 
When I get to the E chord, I switch to the 9 12 14 11 11 13
11 9 9 113 9 11 14 11 14 11 14 13 3 16 19

9 3 6 12 F#m39 12 3 12 C#m 3 14 3 11 3 11 313
10 
E major scale (E Fs Gs A B Cs Ds), which,
11 9 F#m3 9 11 9 11 14 11 14 11 14 13
 B5 9 11A3 9 12
16 19
3 
C#m
13  16
when played over the subsequent Csm B5 A3 3 3 G# F#m
3 3 3 C#m
9 9 12 12 14 11 11 13 14 3
chord in bar 3, can also be analyzed as Cs
 3 9 113 9 113 14G# 11
9 11 9 11 14

11
 11 113 14 11 313 13 14 3
14 11 14 19
 13
39 12 3 12 3 G# 14 F#m 3 3 C#m 3

11 
12
 A3    11 113 14 1112 11

12

Aeolian, or Cs natural minor (Cs Ds E Fs
B5 9 11 9 3 14
 13314 11
F#m C#m
 189 1612  12 1212 
13 12 11

12  17  12 
Gs A B). Notice the “staggered”-sounding 12 9 12 12 14

12

17 3 19
( 12 12 9 11
)

14 13 14 
11 9 18 3 9 14 11 14
 13314 11
B5 A 3 3 G# F#m
3 3 C#m
 12 
11 12 11
3   3  3
16 13 13 11 11 11 13
12  17
dotted-eighth-/16th-note rhythm of the 14
 
16 19 ( ) 12
14 13 14   13314 11
B5 A G# F#m C#m
 12 12 
11 12 11
A   F#m 
solo lines in bars 2–4. 16 18 3 133 13 11 11
3 11 13 3

12  17 G#  
16 19 18 16 ( 12
) 12

 18 18 16  12 12 13 13 11  11 14 13 14 11 135 12


Bar 4 switches to 2/4 time, followed

11 12 11

16 3 18 3 3 133 13 11 3
11 3 11 13 3
 135 14 11
B5 C#m

12  17 16
by a single bar of 3/4, a bar of 4/4, two 16 19 18 16 ( ) 14 13 14 12
11 12 11

 13 14 5 12 11 12 11 135 14 11

B5 16 A 18 13 13 G# 11 11 F#m 11 13 C#m
 3 16   A18 16 12 12  
3 16 19 ( )

14  17 16 19 18 A 
bars of 3/4 and another bar of 2/4. The

14  17 1616 19 18 A18 16  12 12 13 13 11  11 14 13 1412
    13 13 11 11
solo then concludes with five bars of 4/4. 14
 12 11 135 14
12 ( )
5 1112 11

In bar 5, I play a short line over Bfm, 11 13 11
  13
3
 
14
3 
14  14 1116 10 A18 16
( )
followed by a descending line, primarily 11 13 14 11
 
5 5
 
11 14
performed with pull-offs and finger
14  14 11  10 11A 12 9  12 11 9 11 14 13 12 9 11 1414 13 1412 5
 
3 5
 5
11 14
  
slides, played over A but based on the

 13 125 5   5
11 11 13 11 14

E Lydian mode (E Fs Gs As B Cs Ds). 3 5
3 
14
14  14 11
14 11 10 12 9 12 9 11 14 12
At the end of this bar, I begin a series A
11 11 13 11 14

14  14 11  105 11 12 9 12 115 9 11 14

A 12 9 12 11 9 11 14

5
10 5
of ascending sweeps based on the Bf 11
11 14 
5 11 14
minor pentatonic scale (Bf Df Ef F Af), 12


performed by dragging the pick across 5 12 9 12 5 13 5
14 11 10 9 11 14 12
the strings in a single downstroke. 5 11 5
11 13 5
14 11 10 12 9 12 9 11 14
5 11 11
5 5
12 9 12
5 5 5
5 5 5
 double up
4
chapter

Double picking, and the first solo

in “An Infinite Regression”

in This chapter, I’d Eight-string guitar arranged forfor

seven-string guitar (low toto
high, BBEE AA
DDGG BB
like to talk about a cool, useful
Eight-string
Eight-string guitar
guitar arranged
arranged seven-string
for guitar
seven-string (low
guitar high,
(low to high, B E)
EE)A D G B E)
Fig.
FIGURE 1 1“An
FIGURE “AnInfinite Regression”
Infinite first
Regression” solo
first solo(beginning atat
(beginning 1:13)
1:13)
technique I sometimes use FIGURE
F#m
1 “An Infinite Regression” first solo (beginning
F#m DD
at 1:13)
called “double picking,” which involves 11


1 F#m 1919
1919 1919
1919 19191919
2121
2121
2121
2121 2222
2222
D

191919192121
repeating each note in a melody twice 1818
1818 2121
1818
1818 18181818 1919
1919 1919
1919
1919 1919 1919 2121 2222


using alternate (down-up) picking. A 1818
1818 1818
1818 1919
1919 1919
1919
2121
2121 1818 1818 1818 1919 1919
good example of this technique can 2121 1818 1818 1919 1919
be found in the first solo I play in “An 2121

BmBm
2121
Infinite Regression,” from Weightless 19 19
44
(see FIGURE 1).

1414
1414
2222
2222 2222
2222 1212
1212 1212
1212
I begin over an Fsm chord and play an 4 1919
1919
1919
1919
1919
1919
1919
Bm 1111
1111 1111
1111
1111
1111 1111
1111
Fssus2 arpeggio across bars 1 and 2, stick- 1414
1414 1414
1414 1414
1414 1414
1414 14 14
22 22 22 22 1414
1414 12 12 12 12
ing with a rhythm of straight 16th notes 19 19 19 19 11 11 11 11
while double-picking each different note. 19 19 19 11 11 11 11


14 14 14 14 14 14 14 14
This creates a melody-within-a-melody C#C# 14 14 F#m
F#m
77
effect, as your ear hears a slower eighth- 1313 1313 14141414
1414 1414
1414


note idea within the 16th-note rhythm, 1414
1313 1313
1313
1313
1515 1515
almost as if you were tremolo picking. C# 1616
1212
1111 1111
1212
1616 F#m
7

13 1313 1313 13 14 14
In bars 3 and 4, I change the fretboard 1414
10109 9 1010
1414
14 14 14
shape slightly to acknowledge the under- 14 13 13 13 13
11
 

lying D chord, with brief use of the sharp 15 D BmBm 15
16 12D11

 12 16
 
four, Gs, which I immediately resolve up 1010 13 13
a half step, to A, the fifth of D. I use the 1616 14 10 9 10 14 1919!21!21 21211919 !
19!
19 1919

same approach in bars 5 and 6 over Bm, 13131414151516161717

1515 17171717 !
18!
18 1919
2121
2222 2222 2222
1919
2222

but here I truncate the idea by starting D

  
Bm


on the B root note on the A string’s 14th 10
fret before moving down and then back 16
C#C# 15 17 17 !
18 19 21 22
19 !
21 21 19
22
!
19
22 19 22
19
up again. 1515 13 14 15 16 17
Across bars 7 and 8, I play a quick 2222
2121
1919
2222
2121
1919
1818


descending-ascending line over the five 1919
1818
1919
1818
1616
1919
1818
1919
1818
1616 1515
(V) chord, Cs, using notes from the Cs 171716161414
1717161614141313
Phrygian-dominant mode (Cs D Es Fs 151514141212
Gs A B), which is the fifth mode of Fs C#
15 3 3 3 3 3 3 3 3 5 5
harmonic minor (Fs Gs A B Cs D Es). 22 21 19
I switch to much simpler and more 1717 
F#m
F#m 22 21 19 18 DD 1/21/2


E¨E¨

 Bm

1/21/2

Bm

     
 7 7  6 66 6
19 18 19 18 16

melodic lines in bars 9–14, outlining the 19 18 19 18 16 15
11 111313 11111111 !
9!9 9 99 9 !
7! 7 !10! 17
10 10101010 !16
8!8 14
same Fsm-D-Bm chord progression of 1111 17 16 14 13
bars 1–6. At bar 15, however, I play a fast 12121212 15 14 12
Cs Phrygian-dominant descending line 3  3  3 3 5 


again, using 16th-note triplets, quintuplets
  
 
and 16th notes. 2424 F#m F#m
F#m D 1/2 D D E¨ 1/2 Bm
17
   
 !  10 10!
 
The solo wraps up with a restatement 14!
14 14141212 12!
12


12 12
1313
11 11 11111111 1313 14141414
of the “melodic” approach of bars 9–14, 7 7
11 13 11 11
9 9 9 9 !
9 9 9 !
7 !
10 10 10 !
8  7 6 6
  
but at bar 21, I introduce a new chord to 11
12 12
  BB 
the progression, Ef, which affords a shift
in harmonic content to what is already a
“shifty” harmonic environment. I finish
E¨E¨ 


C#C#


2929
  !!
(etc.)
(etc.)
!!
 
111313 13131111
9 9 1111 9 9


11
up in bars 31 and 32 with straight eighth
24 F#m 1010 1212 9 9 D
 
9 9 1111 9 9


notes and use descending fourths to
outline the B-to-Cs chordal movement. 11 13 11 11
1111
13
9 9
149 9 8 8 14
121111
1212
14 14
! 
12 10 !
12
Overall, this is a challenging solo to 7
9 9
  
play up to speed, so I encourage you to
take it one bar at a time and gradually


work it up to tempo. Once you have the
 
shapes down, you’ll find that it’s not as E¨ B C#
29

(etc.)
difficult to play as it may seem. ! !
 
11 13 13 11 9 11 9
10 12 9
9 11 9
11 9
12 11 9 8
 thumbs up
5
chapter

How to play the thumb-slapped

intro to “An Infinite Regression”

in This chapter, I’ll show

how I play the intro to “An Eight-string
Eight-stringguitar arranged
guitar for seven-string
arranged guitar (lowguitar
for seven-string to high,(low
B E AtoDhigh,
G B E)B E A D G B E)
Infinite Regression,” the opening FIGURE
Fig.1 1
FIGUREF#5
1
  D5
F#5 *
 *
track from Weightless. This part features + D5 * + +

*


F#5 *

F#5 + * + +

(play 3 times)

          
  
a very unusual and unique “double-
(play 3 times)

  7 1010 10 10 10    

  
thumbing” technique that, I believe,

 

was pioneered by the great jazz bassist

 


 




Victor Wooten. As usual, all of the licks 9 9 9 9 9 9 9 9 9 9


7 7
7




in this chapter are arranged for seven-


69 9 9 9 9 6 1010 10 10 10 9 9 9 9 9
6
string guitar (low to high, B E A D G B E), 7
* w/pick-hand thumb 7
though I play the part on an eight-string. + fingerpick w/pick-hand index and middle fingers
6 6 6
For this intro, I use my pick-hand * w/pick-hand thumb FIGURE 2
D5 +
+ fingerpick F#5 *
 
thumb to sound consecutive notes with * w/pick-hand index and middle fingers +

    F#5 *  + 
a downstroke followed by an upstroke,
  
Fig. 2 2
FIGURE 
  2 4 4 4 4 4  
after which I use the index and middle D5 +
1010 
*




fingers for fingerpicking. Along with

      
7

   




10 10 10
the fret-hand tapping that initiates each

  2 *4 4
phrase, the combination of these different

 
6 6




D5 F#5 D5
10 10 10 10 10
techniques lets you devise cool, rhythmi- 7* + * + + 4 4 4




        
   
cally complex and deceptive-sounding
riffs like this one.
   +



First, I’ll illustrate the basic technique 2 6 2 6




5 5 5 5 5
D5 4 4 4 F#5
4 4 5 5 5 5 5 D5

  
I use to play the intro lick in “An Infinite * + 2 * + *

        
   
Regression.” As shown in FIGURE 1, I
6 6 6
begin with an Fs root-fifth shape, which I FIGURE 3
  * 5 +5 5 5 5 



hammer on with my fret hand’s index and 2F#(sus2) 2




5 5 5 5 5 + 4 4 4 4 4
       
ring fingers on the seventh and ninth frets * * 2+ * +

  6
of the low B and E strings, respectively.


This is followed by the previously men-

FIGURE
6 116 11


 3 39 
13 13
tioned downstroke and upstroke with the 11 11 11 11 11 11



Fig. 11 11 9 9 9 9



pick-hand thumb, sounding the third and 9 9 9 9 9



7 7
fourth notes in the phrase, followed by F#(sus2)

*  + +  * +  
* + + + +
the pick-hand index and middle fingers D(sus2) E¨(sus2) * Bm* Bsus2 *

      
* + * * + * +
sounding the fifth and sixth notes. In bar
     11 11 11 13 13 11

2 of FIGURE 1, I use the same technique
 

 
11 11
11 11



   7 9 9 912 12 7 9 9 9119 11
but switch to the notes E and D, played 14 14 1211
12 11 9 9 13 139






on the seventh fret of the A string and the 12 12 12 12 12 12 15 159



910 9 9 9 13 9



10 13 13 13 13 13


7 117 11
10th fret of the low E string, respectively.
Many of you do not own seven-string Gsus2 Gmaj7 Bm Bsus2
D(sus2) E¨(sus2) Bm Bsus2
        
* + * + + +
guitars, so I’d like to show you how to +* *

    
* + * + * * + * + * +
play this lick on a six-string, as illustrated
in FIGURE 2. On a six-string, begin with
    7 9 12 12  11 11


 10 12 12 12 10 12 12 12   
a hammer-on to the low E string’s second 12 12 9 9 9 9 9 9 9



14 14
10 10 10 12 12 10 10 10 7 12 12 11 11



fret, followed by a hammer-on to the 8 8 15 15 13 13 999 999



fourth fret of the A string. In bar 2, I move 13 13 13 13 13 13 7 7



Gsus2 Gmaj7 11 11

 Bsus2
over to the second fret of the D string and
  Gmaj7
  
* + * + * +

    
the fifth fret of the A string. The lighter Gsus2
 Bm
     
gauge and thinner tone of these higher * + * + * + * +

 
strings hinders the power of the lick when
12 12 9 9 9 9 9 9 9


played on a six-string guitar, so I suggest 10 10 10 10 10 10



8 8

 
picking up a seven-string (or, even better, 12 12 11 11


12 12 9 9 9 9 9 9 9 9


an eight-string!) to play this tune, as it will



10 10 10 10 10 10 7 7


sound heavier and more authentic. 8 8

Now let’s get to the riff that comes in
at 0:17, as shown in FIGURE 3. Instead Gsus2 Gmaj7

      
* + * + * +
of playing the riffs as sextuplets (six-note

   
figures) as I had done in FIGURES 1 and
2, I play it as straight 16th notes, which 
results in a “two against three” rhythmic
12 12 9 9  9 9 9 9 9


feel, with two different melodic shapes 10 10 10 10 10 10



8 8
consisting of six evenly spaced 16th notes
falling across three beats.
 lucky sevens
6
chapter

Making odd meters feel natural,

and how to play “Cylindrical Sea”

A signature element in Eight-string guitar (low to high, E B E A D G B E)

the songwriting techniques I use Eight-string
FIGURE guitar (low to high, E B E A D G B E)
11 guitar (low to high,
Eight-string
Fig. Cmaj7(#11) E B E A D G B E)
A¨maj7(#11) E5
with Animals as Leaders is the FIGURE 1
Eight-string
FIGURE 1 ringguitar
Eight-string
let
Cmaj7(#11) guitar(low
(lowto
throughout to high,
high, E BB EEAADDGGBBE)E) E5
E
A¨maj7(#11)
incorporation of unusual time signatures, Cmaj7(#11)
also known as odd meters. In the quest
fingerstyle
FIGURE1 1ringguitar
Eight-string
FIGURE let (low to high, E B E A D G B E) E5
throughout A¨maj7(#11)
let ring throughout
 fingerstyle  
Cmaj7(#11)
Cmaj7(#11)
fingerstyle A¨maj7(#11)
A¨maj7(#11) E5E5
FIGURE 1 let
    
 
for fresh-sounding new music, we will let ringthroughout
ring throughout 1 1
Cmaj7(#11) 5 5 A¨maj7(#11) 2 E5

0  0  

5 fingerstyle


fingerstyle
 
often superimpose different meters and/ 7 9 9 9 1 3 5 15 51 2
Eight-string
let ring guitar
5 (low
throughout 5 to high, E B E A 1D G B 1E)
  Cmaj7(#11)5 5  A¨maj7(#11)  E52 2 2 0 00G 0
  Cmaj7(#11)
2 0
or syncopations on top of one another,
  0  0 
5 7 9 5 9 5 9
fingerstyle 1 3 5 5 1 5 2 2
FIGURE
8 17 9 8 4 1 3 54 11 4

  85 let
8 5 1 50
0 G 0 
5 5 9 5 9
8 9 8 9 4 5
 0  
a technique explored to great extent by

5 7 9 9 9 1 3 5 5 5 2

 4E5 
0 0 00 
8 4 4 5 1 0 20
G
 Cmaj7(#11)
 Esus2
5 7ring 9 throughout 1 3 5 1
many of today’s progressive rock and metal
8 9 5 4 5 0
5 A¨maj7(#11) 2E7sus40 0Em7
2 0 G 0
8
5 8 4 4 0 0
8  4 E5 0
fingerstyle
0 0 G 0 Em7
0 
87 9 8 9 4
1 3 5 4
Em7 Esus2 11 
bands, such as Periphery, Dillinger Escape
1 2 E5 0 7 E7sus4
8
Cmaj7(#11) 8 4
A¨maj7(#11) 4 E7sus4 12 0 Esus2

 Cmaj7(#11)  7 9 5 98 5 5 9 85 1A¨maj7(#11) 5  4 E5  012   

1 1 12
0 G Em7
Plan and, of course, Meshuggah. 7 E7sus4 Esus2
58Cmaj7(#11) 
 5 7 59 59 9A¨maj7(#11)
14
5 E5 12 11 
A¨maj7(#11)
3 45 5 2 2 0 12
A good example is the song, “Cylindri-
  Cmaj7(#11) 5 0 E50 2 7 E7sus4
1 3 15 15 E7sus4
7 Em7
12 Esus2
12 Em7 0 
2

  58 578 7 9 9 558 5 989 5585 989 141 334 55 14 554 14 5 54 2 22020 2 0 770 77G 0 0 1212 012 11 
1 1 2 0 7 7 12 1212 11
cal Sea,” from Weightless. As many of you 5
8 7 9 8 9 8 1 3 54 1 5
9 4 A¨maj7(#11) 4 1 0 11Esus2
0
12
0
know, I’m a huge Allan Holdsworth fan,
9 1 3 5 1 5 1 5
 8 Cmaj7(#11) 44  E5
12 12
88  4 0 
FIGURE 5 27 six-string 9 version 0 11 0

and the sound and approach I use on this 9 2 7 12
Cmaj7(#11)
8 88
5 5 A¨maj7(#11)
4 44 0 20 0 0E7sus40 7 0Em7 012Esus2 0 0
 4 
song are influenced by him. 5 7 9 9 9 A¨maj7(#11)
1 3 5 5 5 E5 2
8 Cmaj7(#11)  2 0 E507 7 012 12 011  0
FIGURE 8 2 six-string 8 version
8 4 4 0 0 0 120 0

5 7 98 5 9 8 5 5 4 51 4 51
For all of the chapters up to this point,
  
  Cmaj7(#11)
Fig.
FIGURE FIGURE 22 2six-string
six-string
5 version
version
5 41 3A¨maj7(#11)
1 1
I have arranged my eight-string guitar 2 G 2

 5 7 9 55 9 55 9 1 3 5 11 5 1 1 5 2 2 2 2 22 G 2  2 !22 0 2  

FIGURECmaj7(#11) six-string
52 Cmaj7(#11) 9version
9
1 A¨maj7(#11)
2
2 E5 ! 2 2


A¨maj7(#11) 2E5
   
7 9 9 3 5 5 5

FIGURE
work for seven-string guitar, as few of 8 8 8 4 4 4 0 0

  8585Cmaj7(#11)
FIGURE 2 six-string version A¨maj7(#11) E5
 Cmaj7(#11) ! 2 
8 8 8 4 4 4 0 0 0 0

  
you have eight-string instruments. When
G 2 G 2 Esus2
8 9 5 4 E5 5 0 E7sus4
0 2 G 2 12  2 
  8Cmaj7(#11)
possible, I have also arranged the parts 7 9 5 9 5 A¨maj7(#11) 1 1 E5
2 !2
 1  2
52 six-string8 8 9 4 3 5
1 4 5 45 02 0 Em7

8 9version
A¨maj7(#11)
9 5 E5 7 2 
87 9 1 3 5 4 20
5  !
4
!
2
  8Cmaj7(#11)
for the universally accepted six-string. 5
8 5
8 4 1
4 4 2
0

Cmaj7(#11) A¨maj7(#11)
  
7 9 9 1 3 5
In covering “Cylindrical Sea” in this les-

8 8 4 1
A¨maj7(#11) 4 42 E5 2 0 7 E7sus4 0 122 122 Em7 11
G  
Esus2

0 02 2  Em7
55 5 5 11 1 2

10  02 0  2 Esus2 

55 Cmaj7(#11) A¨maj7(#11) E5 E7sus4 Em7 Esus2
 
7 9 9 9 1 3 5 5 5 2
  
son, however, I have written the parts 7 9 9 9 1 3 5 5 5 2
8 8 5 8 85 4 A¨maj7(#11) E5 0 E7sus4
  Cmaj7(#11) 52 E5 G
4 4 414 4 012
1 4 15 4
8
7 12 !12 2 11
for both eight- and six-string guitar, as
5 57 7 9 9 5 99 5 99  1 3 55 1 55 1 5 5  
5 8 95 8 9 A¨maj7(#11) 2 0 2 7 0E7sus4 12 Em7 Esus2
 3Cmaj7(#11)
5 7 9 1 3 5
12 11
0 11 
12
 E5
8 4 7 7
7 1212 11
9 8 9 5 0
the use of the low eighth string, tuned FIGURE 2

 Cmaj7(#11) Em A¨maj7(#11) 5 4 

8 8 58
8 5
8 1
4 3
A¨maj7(#11) 1 1 2
2 0 0 E7sus4 7 0 Em7 12 0 Esus2 12
4 3 5 44 4 0 0
 
7 0E/G# 12 0

 3585 3 77 99 5 58 995 58 994 7141 533 455 14 55 14 55 205 22 075 7 74 0712 6124 1212011 11 0
to an E note an octave below the sixth 5 7 9 1 Cmaj7(#11) 2
8 Cmaj7(#11) 5
8 5
8 4 1
4 1
4 E5 2
0 0
E7sus4 7 0Em7 12Esus2 0 12 0
string, is essential to performing these

 3Cmaj7(#11)
FIGURE FIGURE
parts correctly. 7Cmaj7(#11)
 5 7 58 Cmaj7(#11)
FIGURE 538Cmaj7(#11)
Em
Em 714 5 1 4 5 Cmaj7(#11) E/G# E/G# 7 06 4
  8 8  
7 9 895 895 4 29 0 9 0 79 0 12 0

Illustrated in FIGURE 1, the intro con- Fig.
 Em  Cmaj7(#11)
FIGURE 83 5 7 89
Cmaj7(#11) 89 9 0 Em 1 3 5 28 8 4 E/G#0

FIGURE Cmaj7(#11)
8 4 4 4 0 0 0 0
sists of a melodic line played on the fifth Cmaj7(#11) 44 4 4
7E/G#

  85 7 9 85 9 85 9 0 7 5 4 7 5 7 85 7 9 85 9 85 9 4 7 6 4 77  66 44
FIGURE 3 55 55 7 55 44 5 5 5 5 67 4 6 4
47 6 4
 
4E 5 57 79 9 Cm(maj7) 9 9 9 9 4B
9 4 
and fourth strings, supplemented by low 5 57 7 9 9 99 99 77 55 7 6 74 6 4
7 5  Cmaj7(#11)
3

 Cmaj7(#11)
Cmaj7(#11)
8 8 8
5 8 8
5 8 Em
0
0 7 5 4 7 7 8 Cmaj7(#11)
8 8 8
5 8 5 4 E/G#
8
root notes on the eighth string. I play this 5 Cmaj7(#11)
7 9 9 Em 5 7 9 9 9
E/G# 4

87 9 5 58 9 585 9 404 4 7EE 75 54 4 7 76 84  58Cm(maj7)

5 Cmaj7(#11)
 Cmaj7(#11)
part fingerstyle, using my thumb to sound
9 7 64  7 6 4
0
85 49 4 9 7B 6 B 4
4
7E 5 4 7 5  5 7 95 8
Cm(maj7)
5
the lowest notes and my index, middle
8  0 4 7  8  8  8
6
4
 
5 7 9 9 5 9 9

8 8 5 7 98 8 5 9 8 8 9 0 5Cm(maj7)
47 B7 6 4
  
and ring fingers for the melodic content 0 7 5 7 5 87 9 89 98
4   9 
00
8 8

8 Cm(maj7)
played on the higher strings. Throughout Cmaj7(#11) 5 5 E
4 7 5 Cm(maj7) 5 9 9 B
FIGURE5 4 7eight-string 9 guitar
 EE0404 7 5 4 77 66  44 Cm(maj7)
9 5 5 9 7 5 4 7 6 4 6 5 9
9 
Cmaj7(#11) B
9
00
this section, all notes are allowed to ring 5 87 9 8 9 8 9 6

7
8 Cmaj7(#11) N.C. 8 5 B

5 8
5 8 7
9


as long as possible. Be sure to keep the
  9 4
5 7 9 9 6

859 9 9 409 9779 595 9 494 9 9 9 9 999 8

FIGURE 8 4 eight-string guitar
5
8 5
8 0 7 5 4 8 5 9 9
7
585 477 N.C.
 8 58 4 77eight-string
fingers of both hands properly arched so FIGURE 9eight-string
9 9 9 9 9 9 9guitar
99 7 7 6 6 4 4
00
9 4 7 6 9 96 9 9 9 9 97 9 9
that clarity is maintained as you move N.C. 85
5 5 5 5
9 9
9 9
9 9 5 99 8guitar
 
FIGURE 6 76

5 8
from one chord voicing to the next.
  44 N.C.
88 88 70 0 5 8 4
 8 8 7 7


FIGURE 4 N.C.eight-string guitar 5

   N.C.
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9


As mentioned, this part is easily
Fig. 49eight-string
9 9 9 9 9 guitar 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9

9 9
adaptable to six-string guitar, as I’ve FIGURE
1. FIGURE 7eight-string
5 guitar
8 2. 7 5 8

 1. 9 9 79 9 99 995 99 9 99 89 9 9 97 9 9 95 9 9 92.8 99 99 99 49 99 99 99 9 9 9 9 79 9 959 9 9 98 9

7 5 8 4

00
7 9 9 5
9 N.C. 9 9 9 8 9 9 9 9 7 9 5 9 9 9 8
done in FIGURE 2. All of the notes fret- 7 9 9 9 5 9 9 9 9 9 9 4 9 59 9 9 9 9 9
 9 9
8


0 0 0 0 0 0 0
ted or sounded on the eighth string have 9 9 9 5
7 9 9 9 8 9 9 9 9 9 9 9 9 9 9 9 9 9 5 9 9 9 9 9 9 5
7 9 9 9 8

1.   9 9 9 9 9 9 9 9
 7 7 7 55 5 888 0 9 0797 90 90595 09 9 8 982. 97 94 94 9 59 595 9 978 097 95 89 095 989 98 9

been moved to the sixth string, which

9 9 9 9 9 9 9 0  0
 
 7 0 05 0   82.2.9 99 949 995 995 99 99 9 0  
00
is tuned to E but one octave higher.

1. 0
Playing the low root notes on the sixth
1. 9 9 9 9 9 9 9
08  0 0 0 0  2.   7
 2.  9 97 9 95 95 9 89 008  8 
  
string makes the fretting slightly more 1. 7 5 0
8  0 0 0 0  
   9 9 9 9 9 9 09 0 0 080
9 9 9 9 9 9 9 0 

00
difficult because it requires more careful 1.
9 9 7 9 9 9 5 9 9 0

97 9 9 9 5 9 9 9 8     
   9 99 7979 99 99 5959 99 9 88  88
and precise fingering to avoid accidental 0 0 0 0 0


0 0 0 0

8   
muting of notes.
9 9 9 9 9 9 9
The intro continues with the riff 7 5
7 5 8 7 5 8 8
shown in FIGURE 3, again arranged for 7 5 8 7 5 8 8
six-string guitar. This section begins the
same as FIGURE 1, but then moves back
to the tonic, Em, followed by different a technique similar to standard classical guitar fourth string’s ninth fret is picked repeatedly while
resolutions from Cmaj7s11, first by E/Gs “tremolo” technique, wherein a single note is picked the bass note under it continually changes. This is
and then E major. repeatedly and rapidly with different pick-hand demonstrated on the eight-string but most if it is
The last figure in this chapter utilizes fingers. As shown in FIGURE 4, the B note on the playable on a seven-string.
 six sense
7
chapter

Playing in 6/4, and the hybrid-picked

arpeggios in “David”

In the last chapter, I Seven-string guitar, tuned, low to high, to B E A D G B E.

Seven-string guitar, tuned, low to high, to B E A D G B E.
discussed my penchant for Seven-string
FIGURE 1 guitar, tuned, low to high, toFIGURE
B E A2D G B E.
employing odd meters in much of Fig. 1 1
FIGURE Fig. 22
FIGURE
FIGURE 1 B¨ guitar, tuned,Dlow to high, to B E FIGURE
Seven-string A DB¨aug
G B2 E. Daug/F#
the music I write for Animals as Leaders, B¨ picking
hybrid (playD8 times) B¨aug Daug/F#
(play 4 times)
B¨ D B¨aug Daug/F#
FIGURE
1 hybrid picking 14 (play

8 times) FIGURE
2

5 (play 4 times)

  18 1010B¨  FIGURE

using the song “Cylindrical Sea” as an Seven-string guitar,
10 tuned, low to high, to B E A D G B E. 6
hybrid picking (play 8 times) (play 4 times)
  
6

 14 12 
  6 9  B¨aug
example. While “Cylindrical Sea” moves 10 14 D1414 7 B¨aug Daug/F#
6 5
8 times) 
10 7
FIGURE
Seven-string 10 8 12
guitar, tuned, 14
10 12 low to high, to B E A D G B2 E. 64 6 5
 1 8 hybrid  2 9 8 5 88
12 8 4

 
back and forth freely between 7/8, 5/8 hybrid10picking (play14 6 (play 4 times)
12 

14 8 5 7 7

   8 10B¨ 
    B¨aug
and 6/8 time signatures, the idea was B¨ 10 8 12 10 12 14
8 10 D 7 Daug/F#
4 7 6 4 5
FIGURE 10 8 12 10 12 (play
picking
14
8 times)
FIGURE 4 (play 44times)
not simply to write a tune for the sake of 6

  3  8 10mm*** =10ppw/pick, 
6 9 7 8 5
  69785 6 7 
m
* p m * 10 m * m *D 14 14
14 6 Daug/F#
7


complexity. In fact, I rarely even think 10 8 12 10 12 12 8 6 4 5
4 (play
hybrid picking (play 8 times)
* = w/pick, m = middle finger, p = pinkie 4 times)

 Gm  Daug/F#
  3 8 m* p m 8* 12 10 12 m *6 m 12* 5  6 6 6
about specific meters when constructing

10
m * 14
m * 14 m *


a tune. My goal is to create interesting FIGURE m 8 * m12
14
10 12 m * m 12 8 4 6 4 5
= middle finger, p =*pinkie 6

  B¨aug 
B¨aug * = w/pick, m = Daug/F#
middle finger, p = pinkie
9 8 5E¨

Fig. 33   6 79 Daug/F# 

musical compositions without taking an 10 10 14 14 7 7
analytical or theoretical approach. Usually, FIGURE 8 4 4
FIGURE * = w/pick, m = 6middle finger, p = pinkie 8 5 3

  6B¨augm* 7p m *
it is only after a song is coming into focus 7
m p m *8 7Daug/F# 7 Gm 3 3 E¨
that I will analyze the inner workings FIGURE B¨aug 3 9 ** = w/pick, 4 mDaug/F#
* m4 * 5 Gm 7 4 Daug/F#
1 E¨
1
8 5 m = middle finger, p =6pinkie 5 6 6 3

 B¨aug
6 m 6 5 6 6 3

 B¨aug366 99 7 88 55 8 6 Daug/F#
of the time signatures and harmonic Daug/F#
*7 m * Gm Daug/F# E¨
FIGURE 6
3 * =7 w/pick, m = 8middle finger, 7 7 3 3


structure of the chord progressions. 4 7p =6pinkie 4 5 5 7 6 7 4 7 6 1 3 3 3 1
“David,” the last track on Weightless, 4 4 5
Gm 7 Daug/F#
4 1 E¨ 1
FIGURE
 B¨aug9 8 5 8 66 Daug/F#
 B¨aug
Daug/F# Gm D/F#

0
was recorded using a seven-string gui- 7 7 7 3 3
4 6 6 4 5 5 6 7 6 Daug/F#
4 8 10 6 1 E¨ 3 1
7 7 3
5 Gm

 6 6 7
tar tuned normally (low to high, B E A
5 5 6 7Gm4 7 3
6 7 7 77 7 3


D G B E). I think of the song as being in 88 6 4 6 44 5
Daug/F# 6 1 D/F# 1

00
4

 6 7
6/4 time, though one could just as eas- B¨aug9 9 8 8 55
7 Daug/F# 7 Gm 7 6
9 D/F#
310 3

 5 77 
ily reckon it as bars of 4/4 followed by 8 46 4 6 6 5 5 5 7 4 6 18
8 10 1
B¨aug 9 7 8 5 6 Daug/F#
7 Gm D/F#
 Gm
bars of 2/4.
8 4 7 4 7
6  9 8

FIGURE 1 illustrates the opening E¨maj7#11 D7/F# 8 Gsus2 Daug/F#
4 6
Gsus2/B 4 5 E7sus4 5 6
B7/D# 7 D/F#8 10
B¨aug 9 8 5

00
6 9
5 10  510
pattern, which is built from alternating 5 9
7 8 7 10 10 7 5

 6  9 7 98 5 8
610 10 10 10 10 5

 Gm
8 4 6 104 6 8
7 10
arpeggiated Bf and D triads played on the B¨aug 10 10 11 11 10
6 Daug/F#
10 10 4 4 5D/F#

9
top four strings and played eight times. I 7 7

 7 8D7/F#  5 8 8 Gsus2 0 E7sus4

4 6 4 5 5 6 8
7 10

10   8
E¨maj7#11 D7/F# 6 Gsus2 Gsus2/B E7sus4 B7/D#
10  5 10 
use hybrid picking to play these arpeggios, 11 9 0 9
6E¨maj7#11 8 87 0 0Gsus2/B 0 07 4 4 B7/D#
 Cmaj7
using a pick to sound all notes on the 10 4 10 104 10 7 5 5

 
10 9 10 10 8 8 5 11 11 10 10 10 10 10 10 5
49 5
4 5
6E¨maj7#1110 10 D7/F# 11 11Baug Gsus2 Gsus2/B E7sus4 B7/D#
fourth string and fingerpicking the third


10 10 10 10 10G 10 4 4 5
10 
 00 E¨maj7#11

0
and first strings, with the middle finger
11  0 10 0 9 0
8
9 10 10 10 10 10 10 5 5
D7/F# Gsus2 Gsus2/B E7sus4 B7/D#
 
plucking notes on the third string and the 0 0 10 0 0 11 11 107 8 10
8
10 10 10 10 0 10 4 4 5
 E¨maj7#11
0
 
0 0 8

 9  11
pinkie plucking the high E. 11
10 8
10 8 10 8 10 07 8 0 10 0 0
10 0 10 0 4
5 4 5
10 D7/F# 11 Gsus2 8 8 10 8 9 Gsus2/B
0 0 10 0 E7sus4 10 0 B7/D# 4 4

10 10 10 10 4 4 5
 1Cmaj7
After FIGURE 1 is played four times,

 10 101 91 111 11 4 8108Baug

10
11
10 8 10 7 10 11 10 10 10 0
10 0 10 5 5
10 0G

00
a second guitar enters with the pattern 1 8 8 10 0 0 10 0 4 4
108

 000 000 0009  000

Baug 10 G 4 4 5
 Cmaj7
shown in FIGURE 2. I use the same Cmaj7
11 0 0
hybrid-picking technique to perform the 0 8 8 8 0 0 0 7 8 10
0 4 4
0 Baug
0 8 7 8 G
10

0 0 00
arpeggiated patterns in this riff, and you 0 11 0 7 8 8 0 0
8 8 8 0 90 7 80 0 4 4
Cmaj7 Baug G

00
will notice that I expand on the implied 0 0 10 9 7 8 10
harmony by including the augmented 0 0 0 0 0 7 10 11 10 8
1 1 0 0 1 1 0 1 4 8 7 10 11 7 8 8
fifth, Gf, in the Bf triad played across Cmaj7
0
1 1
0
1 1 0 1 Baug
4 8 9 7 8 G
10
8
0 0 0 0 0 10 8
beats one and two. This riff is layered 7 10 11 7 8
0 0 0 0 0 9 7 8 10
under FIGURE 1 four times. 1
0 1 0 0 1
0 1 0 1 4 8
0 8 8
10
At 0:24, the initial guitar drops out 7 10 11 7 8
1 1 1 1 1 4 8 9 8
as the riff illustrated in FIGURE 2 is 10
7 10 11
repeated, establishing the start of the 1 1 1 1 1 4 8 8
next theme in the tune, shown here in
FIGURE 3. In bar 2, the chord progres-
sion moves to the relative minor of Bf,
Gm, followed by the augmented five not actually sounding chords in a conventional seventh-string bass notes and two-note figures
chord, Daug/Fs, and the flat six chord, Ef way. Regarding the picking technique, the sounded on the top two strings, culminating with an
(which can also be thought of as the four pick hand strikes the string closest to it, so the ascending line in bar 9 that outlines Baug.
chord of the relative major key, Bf). pattern is both logical and economical in terms of An influential resource for this type of playing
One of the cool things about movement. For me, hybrid picking in this manner is Gustavo Assis-Brasil’s great book, Hybrid Picking
arpeggiating chords in this way is facilitates sounding notes on nonadjacent strings Lines & Licks for Guitar. It’s one of the most useful
that it allows me to imply polyphony— as the pattern evolves. instructional books I’ve ever come across, and I
multiple independent voices—while In bars 6 through 8, I alternate between low highly recommend it.
 six of Another
8
chapter

More on playing in 6/4 meter, and how I perform

the hybrid-picked arpeggios in “David,” part 2

In the last chapter’s Seven-string guitar (tuned, low to high, to B E A D G B E).

analysis of the track “David,” Seven-string
FIGURE
guitar (tuned, low to high, to B E A D G B E).
Fig. 11
Seven-string guitar (tuned, low to high, to B E A D G B E).
I described my penchant for FIGUREG1
Seven-string guitar
G/B (tuned, low
Em to high, to B/D#BEG A D G Cmaj7
B E).
FIGUREletG1ring throughout
Seven-string guitar (tuned, low to high, to B E A D G B E).
FIGURE 1  
writing songs in both odd and shifting
G/B Em B/D# G Cmaj7
meters. The opening sections of “David” Seven-string
G
FIGURE10let
G1 ring
guitar
  (tuned,
G/B
10 7throughout
low to
Em high, to

B E A
B/D#DGG B E).0

Cmaj7
 10let    00 00
7 5 3B/D#
2 3G 0 0 0
are played mostly in 6/4 (also reckonable
FIGURE 1 ring 10 G/B 8 8
throughout Em 8 7 8 0 Cmaj7
 10Gletring10throughout
  810
10  8 8 7 5 
G ring 7 G/B Em B/D# G Cmaj70 0


as alternating bars of 4/4 and 2/4), with let 10throughout 7 5 3 2 3

let ring   8 8  7  8 7  8 35  33 221  33  00  1 00 00

7 G/B Em 8 7 8 B/D# G 0
Cmaj7


3 2 3 0 0
7 0 10   8 8 5 7  8 74 8 5
bars of straight 4/4 briefly used here
  10throughout  
10 7 10 0 0

 10  10 7
  7 5   
and there. Additionally, I use hybrid


10 0 0

Gaug   10  8 8  8 7 8 B¨ 3 0 D   
10 8 8 8 7 8 0

 Gaug
 
picking—a useful technique that combines 3 2 3 0 0 0 0
 88    00    55     1033 1  1
8 0 5 4 1 1

 Gaug
flatpicking and fingerpicking—to perform
  0   8  5     4  B¨    1   
4
1 14  D
the many different arpeggios and chord-
  10 8 7    10 3B¨   DD14 121  14 
4 1 1
Gaug 
14
melody patterns I play in the song. 8
Gaug 
5 6    
 5     4 B¨ 

 14
7 8 10

 7   7 8 88  10 8 7    B¨  
FIGURE 1 illustrates the phrase heard 8 9
0 10 8 8 12
10 110 12

 Gaug
10
4 8
 9 7 8 8  10 8 7 10   B¨ 8 10 10 10 8 12 10 12D 14 14 14 12
D

between 0:45 and 1:00 on the recording, 10
10 10 10 14 14 14

  7 55 66 10 9 7 8  8   
8   *   88 10
after which I reprise the song’s opening


 10 8 7 10 * =  
phrase. In bars 1–3 of FIGURE 1, I

10 7 10 m p m 10 8 12 10 12 14
m p m 14 12

 42 8 7 5 6 10 99 7 8  10 8 7 10  88 10 10 88 12
* *
10 9 7 8 m =10 8 12 p10 12 14 14 14 12

10   G(9sus4) 
fingerpick melody notes on the top two 4 8 7 5 6 10 8 w/pick; 10 10 finger;
middle = pinkie

 G(9sus4) 
FIGURE 10 12 14 14 12
 ** =mw/pick; 
strings while simultaneously flatpicking
4 8 7Am7 B¨ F * m p m * 12D10 12 m p m 12 *
low bass notes to provide implied 4 58 7 5 65 10 17p mm = 14 m p =p pinkie
* middle finger; m *
 45228 5 5 5 5
6 13
harmony. I use my pinkie to pluck all of FIGURE * =mw/pick;
p mm = m p =p pinkie
* middle finger; m *

 G(9sus4)
the melody notes except for the open B FIGURE 7 7 14 14 14 ** =17 p17 mm =
mw/pick; * middle14finger;
14
m p =p pinkie
m *
Fig.
FIGURE22
G(9sus4) Am7 B¨ F pG(9sus4)
** =mw/pick; mm13
= middle
12 mD
finger; p =p pinkie
m *
note in bar 3, which I’ll pluck with either
5 6 B¨ 66 13 F
*
3 2 5 3 Am7
FIGURE G(9sus4) 10 finger; D


5 5 13
13 13 15 15 10
my middle or ring finger. This is the G(9sus4) Am7 5 B¨ F * = w/pick; m= 17middle
G(9sus4) 14
p = pinkie
D
FIGURE 2


5
G(9sus4) 5 B¨7 66 7 F 13 17 D 14 14
most comfortable way for me to play this 5 5 Am75 5
5 5 5 14 13 14 14 G(9sus4)
17 17 17 14 14


G(9sus4)
5 5 5 Am7 5 5 5 B¨ 7 7 F 14 14 14 G(9sus4)
17 17 D 14 14 14


passage, but I encourage you to try other G(9sus4)
5 Am7 6 13 B¨ F 17 13 12
5 bar)
(repeat prev. 5 5 5 5 7 7
 14 14 14 17 17 14 14



fingerpicking combinations to see what 3 5 3 5 5 5 5 5 6 65 6 13 13 13 613 15 17 13 15 13 12 10 14 10
3
5 5
3 5
5 5 5
5 5 6
7 7

6 13
14 14
13
14
13 15
17 17
15 13 12 10
14 14
10


works best for you. 3 5 5 3 5 5 5 5 5
5
5 5 6 5
7 7 56 13 514 14 7
13 14 7
13 15 17 14 17 14 14
15 13 12 10 14 14 10
One advantage hybrid picking has 3 3 5 5 5 6 
6 13 13 13 15 15 13 12 10 10
13 15
G(9sus4) Am7 B¨ F
over straight fingerpicking is that it 3
(repeat3prev. bar)3 5 G(9sus4) 5 5 6
5
3 5
Am7 5
6 13
5
5 6 13
B¨
6
6
13
F 15 13
13
13
10 10
enables you to quickly and easily revert (repeat prev. bar) G(9sus4) Am7 B¨ F
(repeat prev. bar)

G(9sus4) 5 5 B¨ 7 66 7 F 13
to flatpicking, which is what I do to G(9sus4) 5 5 5 Am7 D5 5 5 5 14 13 14 14
(repeat prev. bar)
 G(9sus4) Am7 B¨ F
play the ascending run in bars 4–6. In 5 5 5 5 5 7 7 14 14 14

(repeat prev. bar)17 5 5 14 6 13
5 5 5 5 5 7 7
 14 14 14

 
bar 4, I employ economy picking, also 17 3
17 5 5 3 5 5 5 5 6 6 6 13 13 13 13
5 5 14 5 514 7 7 14 14 14
3 3 5 5 5 6 6 13 13 13

known as sweep picking or “rest-stroke
3 5 135 3 5
12 5 5 5 5 5 6 7 7 6 13 14 14 13 14 13
picking.” When moving from a lower to 15
G(9sus4) 3 15
3 5 10
D 5 5 10
6 
6 13 13 13
a higher string, I “rake” the pick across
the strings in a single downstroke. Bar
G(9sus4) 17 3
G(9sus4)
3 5 D
D
5
14
5 6 
6 13 13 13


5 is performed with straight alternate G(9sus4) 17 D 14 14 14 14
17 17 17
G(9sus4) D 14 14 14

(down-up or up-down) picking. 17 17

17 13 12
17 17 14 14


To finish out the tune, the last 15 17 15 13 12 10 14 10
17 17 14 14
15 15 13 12 10 10

thing that happens is a new melodic- 17 17 14 14
15 15 13 12 10 10
harmonic guitar part that is layered 15 15 10 10
over the opening Bf-D loop shown in 13 12
15 15 10 10
bar 6 of FIGURE 1, which is performed
with hybrid picking. This part, shown
in FIGURE 2, is also performed with
hybrid picking and played in virtually string instead of the fourth. The intervals of sixths on while the index finger is planted on the sixth string’s
the same rhythm as that introductory the third and first strings carry over from the initial 10th fret, the ring finger and pinkie fret notes at the
part but supplies its own harmonic- theme. From bar 1 through beat two of bar 3, the bass 14th fret of the third and first strings, respectively.
melodic content. notes steadily ascend the sixth string as the chords Gustavo Assis-Brasil’s instructional book Hybrid
FIGURE 2 begins with arpeggiated, move from G(9sus4) to Am7 to Bf and F, culminating Picking Lines & Licks for Guitar, which I mentioned
open-voiced chord shapes nearly identical with G(9sus4) played one octave higher. I then in the previous chapter, was an invaluable resource
to those in bar 6 of FIGURE 1, except here alternate between this pattern and an arpeggiated D for developing the techniques I use in “David,” as
the low bass notes are played on the sixth triad, which requires a rather wide fret-hand stretch: well as many other of my original compositions.
 voicing opinions
9
chapter

Devising chord voicings on

the eight-string guitar

I love the extended range Eight-string guitar,

Eight-string guitar, tuned,
tuned, lowlow to high,
to high, to E to
B EEABDEGABDE G B E
and chord voicing possibilities FIGURE
Fig. 111
FIGURE Fig.
FIGURE 2 22
FIGURE Fig.
FIGUREFIGURE
3 33
offered by the additional two Am
lower strings on an eight-string guitar. I
AA A/E
A/E A A AmAm9 Am#5
Am9 Am#5
5fr 5fr 5fr 5fr 5fr 5fr
tune my eight-string, low to high, to E B E 5fr 5fr 5fr 5fr 5fr 5fr
A B C D E E
A D G B E. This way, my lowest string is A B C D E E
134211 1134211 1134211 11134111 11324111 11132411
an E, an octave below the sixth string, and 1 3 452 1 1 1 153 4 2 1 1 1134211
5 5 7 8 10 12 12 5 1113415
11 1 1 3 2 451 1 1 11132411


5 5 5 5 7 8 10 12 12 5 5
the seventh string is B, as it normally is on 65 65 6 5 85 9 7 118 131013 12 12 5 55 5

  


6 5 5 9
a seven-string guitar. 75 75 7 5 7 95 107 128 141014 12 12 7 5 9 57 5

  
76 76 7 6 7 96 108 129 141114 13 13 7 5 7 58 9
To show why this tuning is useful, 57 57 5 7 5 77 8 9 101012120 14 14 5 7 8 95 7
7 57 5 7 5 77 8 9 101012120 14 14 5 7 5 75 8
let’s start by playing a normal major 5 5 5 5 5 75 8 7 108 12100 12 0 5 5 5 85 5
barre chord. In FIGURE 1, I begin with 5 5 5 7 8 10 12 0 5 5 5
5 5 7 8 10 12 0 5 5 5
A major played on the sixth through first FIGURE 4 FIGURE 5
strings. I can also barre my index finger Amaj7#11 Amaj13 Amaj13
across the seventh and eighth strings
FIGURE
Fig. 44 FIGURE
Fig. 55
4fr 4fr 4fr
to conveniently fill out the sound of the Amaj7#11 Amaj13 Amaj13
chord. In FIGURE 2, I ascend from A up 2 2 2 1 4 3 1 1 4fr  22211141 2 2 24fr
11341 4fr


to E at the 12th fret. This E barre chord 4 4 4 4 4 4 4 4 4 4









4 4 4 4 4 5 5 5 7 7

 
can alternatively incorporate the open 64 3 1 1
2221 6 6 6 6 4 242 2 1 141 4 1 6 62 2 2 1 1 3 4 1
7 7 7 7 7 4 4 4 4 4
bottom three strings, with fretted notes 44 4 4 4 4
4 44 4 4 4 44 44 4 4 4 4









54 4 5 5 4 5 54 4 5 5 55 55 5 5 7 7
played across the top five strings.

 
56 6 5 5 6 5 56 6 5 5 45 45 4 5 6 6
Using this as a starting point, I can 57 7 5 7 5 57 7 5 5 45 45 4 5 4 4
4 4 4 4 4 4 4 4 4 4
build a great variety of chords by keeping 5 5 5 5 5 5 5 5 5 5
the index-finger barre and moving my FIGURE
5 6 5 FIGURE
5 7 5 5 FIGURE 8 5 5 5 5 5
5 5 5 5 5 5 5 5 5
other fretting fingers around. In FIGURE Em9 Em9 Gmaj7/E Gmaj7/E Gmaj7/E
3, I start with a standard Am chord and 2fr 14fr 10fr 11fr 8fr
move to somewhat unusual Am9 and Fig. 66
FIGURE Fig. 77
FIGURE Fig. 8 8
FIGURE
Ams5 chords. For the latter two voicings, Em9
13 2 Em9
13 2 Gmaj7/E
1324 2 314 Gmaj7/E 2413 Gmaj7/E
0 0 0 0 0 0 10 10










be sure to place your fret-hand thumb


3 2fr
3 15 1514fr 12 10fr12 11fr 8 8 8fr

  
squarely on the center of the back of the 0 0 0 0 11 11 11 11
4 4 16 16 12 12 9 9
neck to accommodate the wide stretches. 2
13 2 0
2 14 14 10 X X
0 0 13 20 0 1324 12 2 314 24103
A favorite chord of mine is Amaj7s11. 00 00 0 0 0 0 0 0 0 0 10 0 10








0 0 0 0 0 0 0
FIGURE 4 illustrates two voicings that 3 3 15 15 12 12 8 8

  9
0 0 0 0 11 11 11 11
I often use for this chord. For each, be 4 4 16 16 12 12 9 9
FIGURE2 9 2 14 14 10 X X
sure to pick each note individually to 0 E 69
0
Esus2 0
Em7add4 0 Esus4 E 69 0 Em7#5 12 0
check that all of the strings ring clearly. 0 0 0 0 0 0 0
7
0 09 0 10 0 12 14 0 15 17 15
0 14 12 10 7 0

Likewise, FIGURE 5 offers two different 7 9 10 12 14 15 17 15 14 12 10 9 7

 Esus2
9 11 12 14 16 17 19 17 16 14 12 11 9
ways to voice another harmonically rich- 9 11 12 14 16 17 19 17 16 14 12 11 9
sounding chord, Amaj13. FIGURE
Fig. 99
A technique I employ often is to fret 0
E 69 0 Em7add4
0
Esus4
0
E6
0 9
Em7#5 !
0
chord voicings on the higher strings 7 9 10 12 14 15 17 15 14 12 10 9 7

7 9 10 12 14 15 17 15 14 12 10 9 7


while incorporating the open lower FIGURE910 11 12 14 16 17 19 17 16 14 12 11 9
strings. This approach can yield some 9
E(#11)
11 12 14
Emaj13
16 17
G#m9
19

17
 16 14 12 11 9


unusually broad voicings, such as the 16 16 9 4 4

  
Em9 shown in FIGURE 6 and the 0 0 150
0
0
0
0
0 0
!
0


8 3 3
Gmaj7/E voicings shown in FIGURES 14 16 9 4 4
14 7 X 9 8
7 and 8. Notice in these latter examples Fig. 10 12 16 18 4 4 9 11 13
FIGURE 10

12 4 4


that I include open higher strings as 0 4 4
well, which, to my ear, provides some E(#11) Emaj13 G#m9
beautiful chordal options.

E(#11) 16 16 9
C#m9
 9
4 E64


0 0 0 90

   08

Another technique I like to explore is 16 15
16 9 8 9 3 3
7  9 
14016 0 9 0 4 4
to take a static voicing (one in which the
12 16 14 16
18
1415
9
8 8
9 4
9 8 11
X 11 9
9 11 4
! 8
9 11 13
“grip” stays the same) and simply move it 1216 18 14 7 4 4
up or down the fretboard, as in FIGURE 9. 0 12 9 4 4
12 9
A great example of my incorporation 0 9 !
0

 E 69
of eight-string voicings can be heard in E(#11) C#m9
9
0
the song, “Point to Point,” from the first
8
16 16 9 9

   9
Animals as Leaders album. It’s based on 0 0 0
the arpeggiated Bmaj7/E voicings shown 14 16
15
9
8
9
8
9
8
9 11
11 !
11
in FIGURE 10. This phrase is performed 14 7
12 16 18 9
with a combination of sweep picking and 12 9
alternate picking.
0 9 !
0
 turn on the heat
10
chapter

Effective ways to warm

up both hands

One of the toughest Seven-string guitar (tuned, low to high, to B E A D G B E).

Seven-string guitar (tuned, low to high, to B E A D G B E).
Fig. 1                sim.
things for me to do while trav- FIGURE 1

       
eling constantly is to find time FIGURE15
1 1
Seven-string guitar (tuned, low to high, to B E A D G B E).
 114 13
12 13 14 15
to warm up quickly and effectively. I sim.
 15 14 12 13 14
 15   13 12 13 14 15 1412  
1FIGURE 13 14 15 12 13 14 15

 
have devised a few different techniques 14 13 14 13 14
1 13sim.
15 14 1314 15
12 13

3 
over the years that have proven invalu- 12 13 14 15 12


15 13 14 12 13 14 15 13 14 13 14
14 12 13 14 15 13 14 12 15 13 14 12 13 14 15 13

15
able to me and which I’d like to share 13 14 13 14 12 13 14 15 13 14 12
with you in this chapter. 12 13 14 15 12 13 14 13
12 13 14 15 12
Two of the most common phrasing
patterns I find myself using are either 3 12 13 14 15 12 13 14
14 13 14 15 12 13
arpeggio sequences, wherein long 13 14 13 14 13 14
3 12 13 14 15 12 13 14 15
lines are formed from playing one note 15 12 13 14 15 12 13 14 15 12 13 14


14 13 14 15 12 13
per string across groups of strings, or 15 13 14 12 13 14 15 13 14 12 13 14 13 14
5 14 12 13 14 15 13 13 14 12 15
chromatic lines, wherein a series of 13 14 14 12 12 13 12 1314141513
13
1213
1112 1514 13
!
121314 15 13 14 15 14


notes are played in succession on one 15 12 13 14 1512 13 14 12 13 13 14 14 15
14 13 14 13 14 12 13 14 15
15
string. In the two exercises presented 5
here, both approaches are employed. 5
13
12131415
14 15
121314 15
121314 15
12 13
12 1314 15 1112 13 14 !
Use alternate picking throughout, 15
14 13
12 13
14 121314 15 13
14 13
14 12 15 13
14 12 1314 15 1112 13 14 !
and strive for clarity and cleanliness
in the articulation of each note. Once
15 13
FIGURE 2
14 121314151 13   
14 1215 13
13 12 13 14 14 15 11
14                
15 12 13 14
14 121314 15 13
13
121314 15
14 15
14
etc.

  
11 12 13 14
you have a handle on this, you can 12131415 13 12 13
 2

12 13 12

   1                 etc.
try incorporating economy picking, 11 12 13 14 11
FIGURE
   15 11 12 13 14        12 11 12 13 14etc.13
which is my picking preference when Fig. 2
FIGURE 2
14  12 13 14 1  15111112 1213 1413 14 13 
crossing strings. 12 13 14

11 
  11 12 13 14 13
2
  13 12  
FIGURES 1 and 2 are exercises that 12 13 11 12 13 14 12
13 11 12 13 14 12 13
11 

2
I visualize purely for their symmetry, 12 13 1214 13 11 12 13 14 12
with “reverse diagonals” played across 12 13 12 13 14
11 12 13
11 12 13 12
the strings alternating with chromatic 11 12 13 14 11
notes on one string. FIGURE 1 begins
with the pinkie on the high E string’s 24
 14 11 12 13 14
 13 12
14 13 13 12 11 12 13 14121311 12 1311 1212111312141313 12
13 12 13 14 111212
11 1313 14
11 12 1314
15th fret, the ring finger on the 14th fret 14 12 13 14 13 11 12
12
11
13 14 12 12 13
13
of the B string, the middle finger on the 12 12 13 11
13 12 13 14
14 12 13 11
12 1314
11 12 13 14 11 11 12 1312 14 13 12
13th fret of the G and the index finger 11 12 13 14 11 12 13 14 11
on the 12th fret of the D. On beat two, 4

6
I “walk up” the D string chromatically 4 11 12 13
14141313 12  11 11 12 13 
11 121314101112 13 10111213


11 12 11 12 13 14 12 11 11 12 12
11 12 13 
(one fret at a time) with each fretting 12 11
13 12 13 11 12 12 13

finger until the pinkie is at the 15th 13 1214 13 14 1210111213 13 11 14 10
12
14 12 11 1213 14 13 11 14 12 13 11 12 13 14 12 13
fret, after which I reverse the diagonal 13 11 12 13 14 12 13 12 13 14
12 13 14 11 12 13 14
and move one note per string back up 11 12 13 14
to the high E. On beat three into beat 68

 
13 14 11 12 1312 11 121314101112
1011 13 10111213
four, I chromatically ascend the high 6 12 1112 13 12 11
10 11 12 13 12


13
11 12 13 11
12
11121314101112
12 13 11 11 12 10111213 11
12
E back up to the 15th fret, after which 14 12
10 11 12 13 13 11 14 12 12 1210111213 11 11 12 10

10 11
the first shape is repeated. The pattern 13 11 1213 14 12 13 10 11 12 1311 12 10 11
12 13 14 10111213 10
then moves down one string and is 11 1213 14
10


repeated three times, and then I change 8 10 11 12
direction and move back up. 13 10 11 12 13 10 11
8 13 10 10 11
11 12 13 12 11 12
When you get back to the very 12
12 11 11 12 12 1113 12 13 10 11 12 13
13 1111 12 12 1310 11 12 13 11 10 12
11 12 13 11 12
beginning of the phrase, a neat twist is 12 1010
1111
12 12
13 13 11 12 10 13 11 12 10 11 12 13 11
to move down one fret and repeat the 11 12 11 12 10 11 12 13 11 12 10
12 10 11 12 13 10 11 12 11

 12 11 10 11 12 13 12 11 13 12 
entire sequence, as I do in FIGURE 2. 10 11 12 13 9 10 11 12 10 11 12 13 910 11 12 10
13 10 11 11 10 11
As performed on a seven-string, the lick 10 10 11 10


910 11 12 9
becomes even longer than it would be 10 10 11 12
10 11 12 13 10 11
on a six-string. 13 10 11 12 11 12 10 11 12
Now that you have the idea, try mov-
ing similar ideas around the fretboard
13
12
12
11
10 11 12 13
12
11
11
10 13
12
12
11
10 11 12 13
12
11
11
10 11 12 13
12
12
11
10 13
13
12
11

11 12 13 10 11 12 13
in as many different ways as you can 12 10 11 12 13

 12 11
devise. You’ll find that exercises like this 10 11 12 13 9 10 11 12 910 11 12
12 13 10 11 10 11

 11 10 910
will keep your chops in shape, whether 12 11 12 10 11 12 13 9 10 11 10 11 910 11 12 10
13 11 12 10 13 11 11 12 10 11 9

you’re about to walk out onstage or are 12 10 11 12 13 11 12 11 10
preparing to record a solo. 11 12 13 910 11 12 9
10 11 12 13
 rollercoaster ride
11
chapter

Seven-string arpeggios

one of my most valuable Seven-string guitar (tuned, low to high, to B E A D G B E).

study practices has been to ex- Seven-string guitar (tuned, low to high, to B E A D G B E).
FIGURE
Fig. 11 1 guitar
  
Seven-string
FIGURE
Seven-string guitar(tuned,
(tuned,low lowtotohigh,high,totoBBEEAADDGGBBE). E).

plore arpeggios (also known as Em guitar Em7(tuned,

FIGURE Em
1 Em7

Seven-string
Seven-string guitar (tuned, low
low to
tohigh,
high, totoBBEEAADDGGBBE). E).

FIGURE 17
 
“broken chords,” wherein each note of a
 
7 7 7 7 10 77 10 7 7 7
FIGURE1Em Em7

Seven-string
FIGURE Em
81 8 guitar
8Em7 8 (tuned,
8 8 low8to high, to
8 B E A D G B E).8

8 8 8
 
 

chord is played individually and in suc-

Seven-string
Seven-string
Seven-string 7 guitar
guitar
guitar (tuned,
(tuned,
(tuned,10 7low low to to
high,high,to to
B EB A
E DA G
D G
B E).
B E).
88 9 low88
Em 9 79 7 7 7 7 7 10 7 to high, to B E A D G B E). 7
7 9 7 9 7 7 7
198Em Em7
8Em7

FIGURE
 
88 88

cession) across all the strings. Like most

 

89 9 8 9 9 9 9 9 9
FIGURE
FIGURE 1 979 1
 
99 77

 8 5
7
Seven-string
Seven-string 7 7 7 7 10
10 7 7 7 7
FIGURE 89897Em guitar
1 8989guitar8989(tuned,
7 (tuned, 7 low low to
8 8to 8 8 high,
high, to to
B 9B
E9 E
AA DD GG BB 8E).
E).
7 7 7 7 7 10 7 7 7 7 5

Em Em7 10989 7 7 7 7 5
 
guitarists, I began on six-string and soon

  
Em
Em Em7 Em7 7
199717 Em7
7 7 7 10 7 7 7 5

FIGURE
FIGURE 7
9 7 77 7 77 10 7 99 77 10 7 7 77 7 5 8 5

    
graduated to seven- and then eight-string 7 7 97 7 9 710 107 78 8 7 97 77
 
8
9 8
9 8
9 99 8
9


8 7 8 7
8 8 7
8 810 7 8 8 8 8 7
8 8
Em Em Em7 Em7 8 5

9 7 7 9 7 7


    
7 7 7 7 1010 7 7 7 7 7 5 5 8 5
FIGURE98792 79 Em7 8 7arpeggio
 
8 7 8 8 9 9 7 79 8 7
 
guitar. In this chapter, I’d like to demon- 7
9 7
9 7
9 77
FIGURE 9 2 9 Em77 79
arpeggio
7 7910 107 7 9 7 9 9 10 7 7 79

    
9 9 9

 
 
strate some cool ways to perform a vari- Fig. 779897Em7
FIGURE 22897 Em77
9
Em7
7
8 87arpeggio
9
8 87
arpeggio 8 88 8 9 7
9
8 87 7 5 88 55

  
FIGURE 7 7 10 107 7 7 7 7 5 5 7

  
7 7 7 7 9 97 7 10 7 7 7 7 5 7 78 5

 
* Em7
FIGURE972Em7
      
ety of arpeggios across seven strings. FIGURE 29Em7
Em7 Em79 9 arpeggio
arpeggio
9 9 9 9
7 10 7 10 107 7 7 7
9 9 7 8 85 5
*** 7 7 7 7 7 7 75 5 8 5

               

I’ve devised a specific arpeggio finger- 8 8
   
FIGURE Em7 Em7 arpeggio

2Em7

 *5 8  5  710 77 99 7 10 7 99 77    10 7 5 8 5 

77 10 7 7
10 777 10 9 7 7
2 2Em7 Em7 arpeggio
arpeggio9 7
FIGURE
FIGURE 9
ing pattern diagonally across the strings, FIGURE *2
*Em7 Em7 arpeggio 88 8 8 85 5

 *Em7
8 8 8 9


Em7 Em7 5 7 10 77 979 7 7 10
9 10 7 7 99 77 9 10 7 7 5

 Em7 77 7 5 7 910
Em7 Em7
* 2* 2Em7 7 arpeggio
arpeggio99 9
spanning over two octaves, for which I FIGURE *
FIGURE 88 88 99 7

  *55115*55=8844upstroke
5 7 10 10 7 59
can then alter one or two notes in each
8 3 515 7 1 4  93 71 7 93 982 1 4  1 82 93 971 7 93  4 1  1  737 48 
9 8 7 710 107 78
  99 1010 7755 710 8 55
1  7 8 5
7 5


7
7 9 8 87 10 7 8 89 7


  *5515*3*11=5Emaj7
8 3 51   7110
7 10 10
octave to morph from one chord qual-

87 7
97 9 9 7 910 7  5

7 710 107 7
5 7
= 9
downstroke 9 848 515
1  111 10 10 7 5 7 78 5
ity to another—for example, from minor 4 93 1 3 8
2 8 1 4 1 8
2 8 3 1 93 4 1 1 3

 115 51448 84337 7311  111 144 4337 11311 71 33 322 211 144 411 122 233 311 1 33 344 411 111 1337 73448 841155 51
1 4 7 3 5 1 57 1 710410 3 1 3 2 1 4 1 2 3 1 3 104107 1 75 1 57 3 4 1

   1 1 13 3734 84 4arpeggio
7 7 9 9
FIGURE 47373 731arpeggio
8upstroke = 39w/economy
3491 13 3 13 2 2picking
14downstroke 31 1 424 1 11 2 24 393 19171FIGURE 7
2 393394 4411Emaj7#5
    
11 1 1 3 4 1
 
=4 4upstroke 4= downstroke
      
seven to dominant seven or major seven. 8 8 85 5
FIGURE 3 = = 8=
Emaj7
Emaj7upstroke
upstroke
upstroke 5

arpeggio
5 7
arpeggio710
= = 10 = downstroke
w/economy
w/economy
downstroke
downstroke picking
picking FIGURE 104

107Emaj7#5 75 5
Emaj7#5
8 arpeggio
arpeggio
 ==94downstroke
FIGURE 3 FIGURE 4
Fig.*3 3 1arpeggio 9 3  1 4 1 2 3 1FIGURE
sim.
**31133*===31Emaj7 1 w/economy
This way, the fingerings are visually and * *
physically similar and easier to memorize. FIGURE
FIGURE
FIGURE
44upstroke
Emaj7 Emaj7
Emaj7
8  downstroke
1arpeggio
arpeggio 9 3w/economy
9 1 1 1=4 downstroke
4331arpeggio
w/economy
31 1 993 
7111177 9 8  
2 picking
picking
4 4
picking
1 1 2 23 3 1FIGURE
Fig.
FIGURE
 44411FIGURE
3 4
1 3 3 44 4 sim.
Emaj7#5
sim. Emaj7#51 3 4 Emaj7#5
4arpeggio
arpeggio arpeggio
    
1
3 291 1 
sim.

FIGURE FIGURE
= upstroke
upstroke = 7downstroke
1  1 1 3 3 4arpeggio
 sim.
5*39*=7Emaj7  45sim.
upstroke 8

99  =
88 
Let’s begin with Em7 (see FIGURE 1). FIGURE 9493w/economy 2 picking Emaj7#5
7 11 119 777791199999878889picking
9911 7776667 9 5  FIGURE
410
1 1

  77 1111998 9 98 99 79911 7 99 99 8 991111877669779955    55 99 886677111110108

sim.
66 7711
FIGURE
FIGURE 3 Emaj7
3 Emaj7 arpeggio arpeggio w/economy
w/economy pickingpicking FIGURE FIGURE 4 4Emaj7#5 Emaj7#5 arpeggio
arpeggio
 
67711   11 
FIGURE arpeggio 99 7w/economy
711 Emaj7#5 6 7 11arpeggio 88
=6 upstroke
    
upstroke =9 downstroke
downstroke
   
After I strum the chord, I pick the notes 9 8 10

 55559999776676776711  
10
sim. 9sim.
  1010 1088 8 6 7 11 10 8
  7 6 76117 119 8 8 9 99 9 9 99 89 8 9 111111 11777 6667FIGURE 5
FIGURE 3 3Emaj76Emaj7 11arpeggio8arpeggio
8 9 9 7w/economy 11 w/economy 11
picking
picking FIGURE 4 4Emaj7#5 Emaj7#5 11 arpeggio
arpeggio 88
of an Em7 arpeggio: E (the root), G (the sim.
7 9911889 899 99 7 117 117 97 99 889 899 9  FIGURE 7  65 Emaj7#5  
7 11 7 117 7

 

  5(G#/E)

 55559995879791166712776 11  5
minor, or “flatted,” third), B (the fifth) sim. sim.


711 7 (G#/E) 88


and D (the minor, or “flatted,” seventh), 9 95 5 9 9 6 7 11 10 8
557 G#triad

Emaj7#5
 
9 59 958879111171212111188 9 9 8  
6 8 6 7611 7 11
7FIGURE
9Emaj7#5 5 (G#/E)
G#/E
68 7 115 98 8
G#triad  55(G#/E)  8 8 1110 10
descending across the top five strings in 7
7 9 75 9 8
sim.
 FIGURE 
9 9 9 9 5 89 G#/E
6 9 5 55 Emaj7#5 Emaj7#5 (G#/E)

7 67FIGURE FIGURE
9 59 5 G#triad 9

9
11
117 11 8 11 11 9 6 G#/E
6
7 7
11

00
seventh position and continuing across 7 7 5sim.
  FIGURE Fig.
59sim. (G#/E)
sim.
6Emaj7#5
FIGURE
55 Emaj7#5
55FIGURE
G#triad5 5(G#/E)
G#triad Emaj7#5 9 9 G#/EG#/E

85 8
the bottom three strings in fifth position. FIGURE 5Emaj7#5 10 (G#/E)
9(G#/E)

010 
99 99 Emaj7#5 (G#/E)
sim.
FIGURE sim.
  FIGURE

10 10
 11 8
 sim.
G#triad 88 99 G#/E

G#triad G#/E
1177 66 9  
99 8 811 99 88 11 7 6 88
 9
1112 1211 118 8 7 11 11

000000 0
When practicing, I’ll often incorporate G#triad
G#triad G#/E G#/E

10 6Emaj7#5
Emaj7#5 1010(G#/E) (G#/E) 10
8  0 
99 99 8 5 75G#triad
8 G#/E

 
10 6
sim.
5 sim. sim.
117 76 6 99   
economy picking (also known as rest- 9 9 8 11 12 11 8 9 98 8 11 7711 8 9 9 11 811
8

8 8
8 11 12 11 8 sim.
7 9
9 8 118 12 12
11 118 8 8 8 0
0 8 8 9
9 10 10 6 6 1010 1010
 55 7G#triad
9G#triad G#/EG#/E
     86 77FIGURE
8 11 12 11 8 9 9 99 8 8

10   108 
9 9 9 99 11 8 9 811

 5 775 989687 FIGURE

stroke picking) into the execution of ar- 11 7 711 11


9 9 89 10 sim. FIGURE 7998 9 10

9 9 8   5
FIGURE 99 99 68 11 8 8
9 88 6 10 8 8
0

8 
8 1112 12 11 11 8 8 9 8 10 10 6 6 10 8
10 8
10 10
peggios. Economy picking is a technique 9 69 E7 11 7
10 6 9 9 5 5 7 7 9 9 7 11 10 7 Em/maj7
6 11

  110
FIGURE 9 9 10 11 11 10

 5 75 789 FIGURE

FIGURE 9 9 6E7 sim. 9 8 11 7 6118
7 67 6
7 6 FIGURE
11
7 11 7
sim. 7 11
110 11
FIGURE6 6 sim. 5 7 9 79FIGURE 75117 79
11 11
7 96 9   9
9 8 8 8 9 9 8 8
whereby you use the same pick direction E7 7 10 7 8 8 9 8 Em/maj7 0 0

 6 E7sim. 1077 8 98 7  8 
FIGURE 10 10 6 10 108 7Em/maj7
sim.
0 10
10

 77Em/maj7
sim. 9 11 11 sim.
6sim. 5 7 11 9 77 99 997 710107 7 99 999 797 
7 6 11 11 11

Fig.
66 E7
FIGURE

when crossing to an adjacent (neighbor- E7

7710 Em/maj7
Em/maj7
  
FIGURE 7 9 0 0 8
sim. sim.
 6656E7 9911117755 7 9 Fig. 7 sim.
FIGURE
9 FIGURE 7 6 7 10 9 8
57sim.
   5E759E7 99 117755 77 99     Em/maj7
ing) string: when moving from a lower to FIGURE
FIGURE 9
FIGURE FIGURE 7
 9 97 7  
11 7 5
a higher string, the last note on the lower FIGURE sim.
E7 E7 7 99 99 99 Em/maj7
Em/maj7 FIGURE
Em/maj7
7 799 8

  5599775 7 11 999 79 9 9 79 107910779710   5588776 7 10 999 889 8

6sim. sim.55 7711 FIGURE 7sim.
sim.
99 7  11
FIGURE
FIGURE
55Em/maj7
9E7 11 7 7 9 9 7 10 7 66 7710 Em/maj7

sim. 8 10 88

     
string and the first note on the higher 77 99 9 7 79 10 7 10 7
7 9 7 77 99
7
 9Em7¨5 
9sim. sim.
11 7 9 9 10 9 88 6 67 710
998811 99  
8

 87 11
 6 10
sim. sim. 5 57 711 9 9 sim. sim. 10

  77 557 775 11117 11 7 79 79 9 FIGURE     77 667 776 10107 10 8 8

FIGURE 98



string are picked with downstrokes. Con- 7 7
9 9 9 9
7 7 77
9 7sim.117 7 5 7 97 
9 7 9 9 7 5

989  97 9 9 68 555 8885 78 6 76 107 109 9 6 7 10 9

9887711115121295511711 88 8 5 710 8 97 99 886 6101096 68895785
9
 
7 77 9 6 66 9 7 878 7 5 8 7
versely, when moving from a higher to a FIGURE 11 11
7 5
7 75

5 9
8
  9 7 85
512 9 11 9 7
9 9 9 Em7¨5
sim.
lower string, the last note on the higher 5 95 79 7 FIGURE
FIGURE Em7¨5
8
sim.
  FIGURE
5 875511 7 71111 sim. 11 11 7 57 5 11

  8FIGURE
777 9 8 Em7¨5
Em7¨5 10
 
string and the first note on the lower 8 6710
9 7 788 9 8 9 10 7 6 FIGURE
FIGURE
sim.
sim.


9


FIGURE Em7¨5
107766 8   FIGURE 
string are picked with upstrokes. 99 7 711 1112 1211 11 98 7 9 9 7 10 7 5
99 7 Fig. Em7¨5 Em7¨5 88 88

88 88 6 88 88 6
 
 
FIGURE 2 illustrates an Em7 Em7¨5
5 88 8 55710
 sim.
sim. sim.
107 76 6 88   
9 9 7 11 12 11 7 9 98 8 10 710 7 7 9 9 6 10 6 9 97 7 10 107755 8 5
FIGURE
sim. 8

7 11
8 7 11 12 11 7 8 7 1211 12
11 11
7 7 99 7 6 88 6
8 6 10 6 8106 10
6 6 88 66

 10 7 101255108867555 10710

7 Em7¨5 Em7¨5 6
arpeggio ascending and descending 9 8 89 8 88 8 9 8 10 5588 5 5710 710 7 9 8 89 8 8
89 87 107 75 5 8855

  
10
sim. Em7¨5


FIGURE
9
9 7 11 9 E minor 9 pentatonic
8 9 98
7 7 9 8 9 109 7 6 8 8 7 7 lines 6 6 8 7 7
9 9 7 9 7
8
6 6 9 7 8 108 7 5 68 85 5 6
across all seven strings, with fret-hand 7 11 12 12 11 11
sim.88 78 9 8 6810 6 10

 7710
8 87911E minor 8 78 pentatonic910 10 776 lines 8 8 6810

58 
 
FIGURE

71010121251081056877610101212 959 7710

fingerings and pick strokes indicated. FIGURE 9 12
E 11
minor pentatonic
10 7
7 6
6 lines 710
5 710
710 9 79 7 10 7
10 10 76 55765
9 99 EEminor  
9 9 9 89 8 7 79 9


8 8 9 9 7 77 8897 812 5 810668776 12 8 89 7 8 8 8 866 886558 5


12 10
 9 E minor
minorpentatonic pentatonic 10 12
FIGURE
FIGURE 7 67 6 8lines lines 5 8 5

10 
9108910 10 5 10 7 9 9875

I begin with an upstroke on the low B


10 5 710
710
10 9 10 10 7 57 5


 5 98 E10minor
5 7 10 12 9 777 79912 12 7 7 12 8 10 7 5 6 6 8
string, followed by three downstrokes FIGURE pentatonic 99 10 7 lines 10 99
E E 7 minor
minor pentatonic
pentatonic lines
8 8lines
6 7 8 58 5 10 7 5


FIGURE
FIGURE 9 9 55 77pentatonic lines
 5599889E10510Eminor
as I move across the bottom three FIGURE 77
10101212 7 7 9 912 710 77 10
12
107 12
12 10 7
10 10
12 10
7 7
10
12 12 69 9 7 7 12 1210 1077 55 10 8
77
5 6
99 99


8 7 10 12 10 7 5 8 85
Fig.
FIGURE
FIGURE minor pentatonic
5 5 7 7pentatonic lines lines10 10 10 10 107 7 5 5 5 10 1088 55
 
5129 7 9 12 5 10 12 9 7 5 12


  555 8858910
1010 12 5
10 1210

 55E77 minor
strings. This pick-hand movement is 77 77 7 9
9 12 129 12
7 10 7 10 12 12 10 10
12 12
7 7 12 9 7 9 12
9 7
9 97 7 7
5 5 8 8 10 10 5 7 10 12
55 9 9 9 5510 5510 10 595 9 10 7 5 5 1010 8 8 5 5
then repeated for the next four notes, 10pentatonic
9 12lines
10 7 55

5 58 10558 105

FIGURE 5
5 7 5
7 10 7 12
10 12 12
7 7 9 12 12 12 9 97 7 12 10 7 5 7
12 10 12 107 5
followed by a hammer-on from the 585 10
10 7 7 55 9 9 55 7 5 5 12 10 7
10 595 9 57
75107 8
10 10 8 85
5
10 5 57 10 7 1012 12 10 10 5 12 12 10 107 75 5 10 8 5 5



G string’s seventh to ninth frets and 5 7 7 5 5
7 55 95 12
5 57 7
55 5 55 5 55125 9 7 55 10 5 10 8 85 5
the continuation of the downstroke 9 9
movement across the top three strings. 5 5 5 75 10
5 12 5 5 5 5 5 5 5 12
5 10 7 5
7 7
I’m essentially raking across the top 5 8 10 10 8 5
five strings. When I descend, I use FIGURE 3 offers5 an Emaj7 arpeggio
5 (E Gs B Ds)5 be analyzed
5 as a Gs major
5 triad (Gs Bs5Ds) played
consecutive upstrokes, or a reverse rake, picked the same way as FIGURE 2, and FIGURE over an E bass note (Gs/E).
to move across to lower strings. 4 formulates an Emaj7s5 arpeggio, achieved by FIGURES 6, 7 and 8 illustrate similarly
Now let’s tweak this pattern to changing the B note of Emaj7 to C (the augmented, structured arpeggio patterns for E7 (E Gs B D), Em/
formulate other arpeggios qualities. or “sharped,” fifth). Interestingly, Emaj7s5 can also maj7 (E G B Ds) and Em7f5 (E G Bf D), respectively.
 two-hand touch
12
chapter

Examining the two-hand tapping and

odd-meter phrasing in “Isolated Incidents”

For the track “Isolated Eight-string guitar (tuned, low to high, to E A E A D G B E)

Incidents,” from Weightless, I
devised an unusual two-hand- Fig. 1 1 “Isolated Incidents” q = 156
FIGURE

    
tapping figure that serves as the song’s 1 F#m7
primary melody and sets up the distinct pick-hand

 11 11 11 11 11
rhythmic syncopation from which other

 5
 44 55
musical ideas evolve as the song unfolds. 11 11 11 11 11 11 11 11 11 11 11 11 11 11
This type of “theme and development” 7 4 4 7 4 4 7
7 5 7 5 5
     
concept is a songwriting tool that I use in 7 7 7
many of my compositions. fret-hand
The intro of “Isolated Incidents” is
performed by tapping notes on the fret-
board with both hands simultaneously.
4    F#7
   
Some of you may be familiar with this
approach through the playing of jazz 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
4 4 7 9 9
guitarist Stanley Jordan. When the track 7 5 7 6 6 7 6 6
   
7 7 7
begins, the first thing you hear is the 7 7 7
melody, which I play entirely with my
fret hand. Without picking convention-
ally, all of the notes are sounded by firmly
7     F#m7

hammering onto the fretboard with the 

fingertips. At 0:17, an ostinato (recurring
accompaniment) figure enters, which
11
7
11
6
11
6
9
11 11 11 11 11
7 6
11 11 11
6
9
11 11 11
7
11
6
!
11
!5
11
5

   
7 7
is produced by repeated pick-hand 7 7 7
fretboard taps on Fs on the D string’s
11th fret. The term ostinato is Italian for Fig. 22 q = 156
FIGURE
persistent(ly). In music, it usual refers N.C.(F#m7)
to a short, repeating pattern performed 1
simultaneously with a melody. When the


ostinato is above the melody, it is some-
times referred to as a rhythmic ostinato,
or isorhythm. 5
 2
 
2
2 5  5
5 0 2 2
 2 5
5 0 2

2
2 5 5
5

FIGURE 1 shows the part as played

with both hands tapping simultane- 4 (F#7)

 
ously. While the pick hand taps the Fs
in steady quarter notes, the fret hand
taps the syncopated melody on the 2
2
2
   2 1

  
bottom four strings of the eight-string 0 2 2 5 0 7 7
2 5 6 6 2 6 6 2
guitar. An additional twist is provided

  
by the unusual meter of 11/8, which can N.C.(D5) (B/D#)
be thought of as four quarter notes (or P.M.
10

        
eight eighth notes) followed by three

 
eighth notes (8+3=11) and counted “one-
and, two-and, three-and, four-and, one-
two-three, one-and, two-and, three-and,
four-and, one-two-three,” etc. Person- 5 5 5 5

5 5 5 5

5 5 5 5 5 5 5 5 6 6 6 6 6

   
ally, I don’t think about counting the
beats; I prefer to internalize the rhythm 14 D#5 D5

      
of the phrase until it feels natural to me.
In terms of harmony, my fret hand
outlines an Fsm7 chord by tapping the

   
notes Fs, A, Cs and E while my pick hand 6 5
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5
taps the steady high Fs root note (the osti-
nato). This carries through bars 1–4, after
which I switch to Fs major by tapping the and then tapped eighth notes apart. At 0:47, I switch to a heavily distorted tone and
notes Fs, As and Cs, including the fourth, Of greatest importance when performing this part transpose the fret-hand figure down an octave (see
B, as well. Notice that, as the phrase is to strive to achieve an even volume among all the FIGURE 2). After eight bars of 11/8, there is a bar of
moves from bar to bar, I alternately begin hammered notes. Try to sustain each note into the 2/4, and then I switch to a syncopated figure in 4/4
with the two notes tapped simultaneously next by not releasing it until the next note is sounded. that emphasizes D and Ef pedal tones.
 connect the dots
13
chapter

Analyzing the harmonized melody

lines in “Isolated Incidents”

In the previous chapter, I Eight-string

Eight-stringgtr.
gtr.arr.
arr.for
forsix-string
six-stringgtr.
gtr.
demonstrated the unusual two- Eight-string gtr. arr. for six-string gtr.
hand tapping technique that Fig. 111 Gtr.
FIGURE
FIGURE Gtr. 1:1:melody
melody
makes up the first section of the song,
Eight-string
FIGURE 1

gtr. arr.
Gtr.
N.C.(A5)
N.C.(A5)

1: melody
 six-string

for six-string gtr.
 
 

  
11
Eight-string gtr. arr. for gtr.
“Isolated Incidents,” from the latest Ani-
 1 Gtr. 1: melody
FIGURE N.C.(A5)
 1111    11 9 11 11 
1

1 8899

  

 
Gtr. 1: melody
 11
FIGURE 1

mals as Leaders album, Weightless. The 88 99 11
11
Eight-string gtr.
N.C.(A5) 11 arr. for 99 six-string gtr.

99 !
!
11 11 11 99 ! 9

 
!
  
 

11 11 11 9 11 11 9
8
11


section of the tune that follows features a Eight-string
1 Gtr. gtr.
N.C.(A5) arr.
1:arr. for six-string
melody six-string gtr.
8 9 9 11


FIGURE
1Eight-string
Eight-string !
gtr. arr. forfor 11gtr. gtr. !

11
transition to a heavily syncopated pedal- 11 9gtr.11 six-string
9 11 11 9 11 11 9 9
8 8
 1111 Gtr.
1 Gtr. 1: melody
FIGURE N.C.(A5)

  
9 B¨m
 11 11 9 11
11 11

 N.C.(A5)
9

1
tone pattern with a single-note melody FIGURE
1FIGURE
55 9 !
Gtr.1: 1:melody
melody 9 8 8
B¨m !
9  11 
11 11 11 11 9 9
     11 
9 9

 
N.C.(A5) 9 66 11 !
 
9 !

 1111 999  111111 11118 99  9 8811 B¨m11 86811 6 9 11
     8

played above it. In this chapter, I’d like 11 11 11 66 66 11 9 11 9911 9

1111 1199 9 !
N.C.(A5)

5 11
B¨m 66 6 6 8
to go over that single-note melody, as 5
   11 11 
8 9

9
!!  89  9 
11
!
11 
99

9 11 9
 118 11 9119 11
well as the way in which I harmonize it 11
11 11 99 9 6

11 8 

5 8 8 9
11
! 8 9
11 9 1111 6 9 116! 8!

when it is repeated. 11 99 ! 9 9 11 11 1111 9 11
B¨m 9 9 9

11 8 9

 
11 9 !

611 6 9 8 11 9 9 11 !

9 6
  
1111 11 9 9 11 11
11
!

As shown in FIGURE 1, bars 1–6
 
9 6 6 8
888  88 
69   
11

11 6 6 8 9 6

88 9
B¨m
 6 886 
of the melody are played over a low 5 9 6 9 9 6 69 6 8
11 966 9
!
9 11
11 9 8
811
11 9  B¨m
9
66 11 9 B¨m
9 6 9
9  6

88 8 11 866

  69 6
A pedal tone, with the tonality of A 55 !    
8 88

11 11 8
  9 611  11 9 9 89 68 66
   
9
B¨m
6 99  8
9
5
6
major implied by the presence of the 6 6 6 8
  
6 6 9 6

11 6 8 6 8

11 9 6  11 8 811 9 9 8 9    6 8 8 
911

9 6
major third of the chord, Cs, in the 11 9 6 ! 11

9
8 11 9 8 6 8 8 66 88
Gtr.!
11 9 11 1111 9 8 6
8 9 8   6
8  6
9


9FIGURE 8 22 9Gtr. 2:2:harmony
melody. At this point of the song, the FIGURE ! harmony

 
11 911 9
 8 8 6  
9
96 !
911 8 11 8 9 6
 
11 6 9 9
    
6 8

   8 8   
11N.C.(A5)
8
melody is very straightforward, with 9 9
8 N.C.(A5)
    
6 8 8 8 8
  
9191
 13132 611611Gtr.  
 8 11811 81313 11  612 61313 148 1313 11811 1313 13136 1111 68!  
all of the notes falling directly on the
9
8

  
9



9 6 9 9 6


9 6 11 12 9 9 14 6 9
strong downbeats of either “one,” FIGURE ! 1392: 8harmony
11
11 12
12

9 8 8
9 !
13 !
11 8

6 8 88 8 9 9 11 9
8 6
     
“two,” “three” or “four.” The line is 88 8 1313

2 Gtr. 2: harmony   
8 8 6
8 8
  
FIGURE N.C.(A5)
2 6Gtr.92: harmony 8 8 6 6 9 6 6 9
rhythmically simple, too, built from 8 6 8 8 8 8 6 8
  13 11  12 B¨m
1
FIGURE
a combination of half notes, quarter
5 2
  213N.C.(A5)
8 N.C.(A5)
 13 14 13 11 13 8

    


11 12


1FIGURE
5Fig.
 2 Gtr. 2: harmony
notes and eighth notes. The slight twist 11 !13 11 B¨m 13 11
1313 !
11
 
FIGURE Gtr. 2: harmony
11 
13

  
1
   
1 
  
N.C.(A5) 11 12 14

11 12

 13 11 
 13 1111 1311 131211 1315151413 13 11 1513
13 13 16

added here is that I base the lines on FIGURE 2 11 !
  
13 Gtr.
N.C.(A5) 132: harmony 13 13 13 13 13 11 13 13 161315 11 !11

 1313
5  13 11 !
1 1313 11 12 14 13
13 13 15
FIGURE 13 2 Gtr.
! 2: harmony 11 12

1311  13 
11 13 !
13  13 
the A Lydian mode (A B Cs Ds E Fs Gs) 13 1111
11 11
11
!
!
1313
13 13 11 15 11 13 13 11

1 N.C.(A5)
 
   13 11 12 13 B¨m14 13 11 13 
11 12
11 ! 13
instead of the A major scale (A B Cs D N.C.(A5) !

11 11

59

11 11 12 12 14

13 
13
1
11  !
9  13 11 16
E Fs Gs). The only difference between
  
13 11 13 11 11

5 
13
16 1313  11 13 15
11 12
13
! !
16 11  151515B¨m
 1114 !
13 13 13
13 B¨m

 13 11 !
Lydian and the major scale is that in
  13151513 151414
13 11 11 12 12 1413 13131311 13 16 13 1116 11
131411 !
 13 15! 13
16
13 16 13
11 13 13 13 11 13 13 11
Lydian the fourth degree is raised one 16 1316 16 16

1315 1513 13 11  15B¨m

13 11 13 16 13 1611B¨m16 16 16
13  13 13   
5 15
15 13
13 13

half step, which results in a s4 (sharp 13 13 13
 11   13  13 11   13
15 15 13 15 13
16
13 13 11
 11 !
11 16 13

  13 11 15  15B¨m  13 15 13 13 16 

four), Ds in the key of A. 5 13 15


13 13 15
13 11 1111 !13 13 13 13
  13 1313  15 13 13 1616 15 13
At bar 7, following a single measure of 5 13 13 11 15

13 11 13 13 13 11
B¨m

5
 
9 15
    
2/4, the pedal-tone accompaniment shifts

13 11 !16
13 13

11

16  15  13  1515 16 14

11   15 1513 11 16  15 16 
13 13 16 16
16 13 
up one half step, from A to Bf, and the im- 9 14 16 16 16 1516 14
!
  15 15  1415  1416  16   
13
15 11 11 13 13 11 13 13 1313 11 15 13 13 15
plied harmony moves from A major (with 99 13 1114 1611 !13 16 13 16 16
    
13


15 14 16 16 13 13 16 15 13 16
a s4, or s11) to Bf minor. The melody from 14 16 16 16 16
16 15 16
 16  
15 15 13
15
    
15 13 15 15

9

this point on is based on the Bf minor 15 15
  13   13   15 13 15 16   
16 13 15 15 13

 13 15 14
9
16 16 
pentatonic scale (Bf Df Ef F Af) and mim- 14 16 16 16 16 16 14 16
ics the primary “theme” of the tune that
9 15 14
16 16 16 13 15 15 16
16 15 
16 
 15    
15 14 16 16 13 16 14 16
was outlined in the opening tapped figure. 15 15 13 15 15
Simple as this line may seem, I switch
between accenting notes only on the  15 15  
eighth-note upbeats—on the “and” counts
between the downbeats—in bars 7, 10 and
11, and accenting notes squarely on the
downbeats in bars 8, 9 and 12. Normally,
these shifts between upbeats and down- FIGURE 2 shows the aforementioned harmony with the octave-doubling approach through the
beats would sound acceptable and be line to the melody in FIGURE 1, which enters at next bar, after which I move back down to a fifth
easy to comprehend. However, by laying 1:17 on the recording. In bars 1–7 and the first three harmony for one bar and then back to an octave
the aggressively syncopated, Mesuggah- beats of bar 8, I harmonize the melody line a fifth above for the final two bars.
like offbeat line underneath it, I create above each note, diatonic to the previously men- This is the last chapter in Prog-Gnosis. I hope you
rhythmic tension, making the whole thing tioned scales. For that last note of bar 8, I move up have enjoyed these lessons and have found them useful
sound rhythmically dense. and double the melody an octave higher, and I stick and informative. Thanks for watching.