Allright.

Legato time

tip one: practice with a low gain tone at first.

tip two: very light pick attack is allowed. no big accents

tip three: instead of PULLING off just use only hammer on's. this is done by timing the removal of the finger with the hammering of the next note. kinda like hammering from nowhere. this is a very neat technique.

asides from that, well, this lick is in C# pentatonic Minor. works well over a standard blues progression like i wrote in the tab. there are -alot- of chromatic passing tones and all that, use these as an example of tones that work well. a good trick i got from listening to some of Brett Garsed's (the legato master) stuff is to simply fill in the gap. in the pentatonic shape (the A minor one you've learned) you can only fill in the gaps and just do chromatics like how i started the first bar. then i added a little pentatonic lick that goes up and down, and started the third bar with a 4 note per string scale pattern, only to fiddle again up the pentatonic scale with passing notes here and there. overall it's a neat "rolling" effect.

Try it out. this one is definitely a challenge.

Legato run in c# with chromatics

THANKS TO DETTY FOR ALL THAT HOSTING!

Shorty. How to build long etudes.

There's a thing in jazz music called cycles. where they take two intervals (like I-IV) stick a chord to it (major 7) and move it down in cycles. it's what they call circle progressions. it comes form the circle of fifths and it's really helpful to make arpeggio etudes mostly, since they force you to go everywhere on the neck AND in quirky positions and large position shifts sometimes.

an example. I've been working on some maj9 arpeggios. two or three different patterns, in different groupings.

I'll show these since i've never showed them to you people, i think. and it's my current practice these days.

I start with a pattern that forces me to either pick one note a string or sweep 4 down and 4 up. i just do both so i can upgrade both techniques evenly (see tab for details)

I begin on whatever note, it doesn't matter, since the cycles takes through all 12 notes of the western scale system. let's say F, my cycle would go

Fmaj9 - Bbmaj9 | Ebmaj9 - Abmaj9 | Dbmaj9 - Gbmaj9 | Bmaj9 - Emaj9 |

basically, i go down the circle of fifths in reverse, starting from F. going in reverse means i move by intervals of fourths. if i was going forward through the circle of fifths i'd be moving my chords by fifths. simple eh?

a fourth is 5 semitones from the root when ascending, and 7 semitones when descending. for a fifth, it,s the exact opposite. 7 semitones up, 5 semitones down.

you can easily go on for hours with just one cycle. depends on your ability to stay focused i guess.

here are the patterns i'm practicing to these cycles. only major 9 arpeggios. but you can do whatever the hell you like. also you can move in ANY cycle. in 2nds (that would make you play a whole tone scale) in 6ths, in 7ths. etc. some sound better than others. it's personal.

hybrid picking. use your pick and right hand fingers 2 3 and sometimes 4. always be mindful of the noise you generate with distortion. your right hand palm doesn't mute the strings as usual. find another way to mute while still leaving all strings open for the fingers...

first one is relatively easy. if you mute the lowest string with a palm mute, you'll get a nice poppy sound, like slap and pop bass sorta. ring finger only.

second one is altogether weird, but it works with country or blues in E minor. mixes both the middle and ring finger. descending variation included.

really, all you need to know is hybrid makes it way easy to skip strings...

video coming. and maybe more. time to revive this workout!

Wow. Thanks heaps for the effort you've gone to for this. This is amazing stuff. You've learnt more in 6 years of playing than I have in 16. I really need to put more effort into practising and learning new things.

was that a spam post? O_o damn spam bots

thanks. i've been leaving this one to rot for a while. i guess i've been too busy.

I plan to compile a PDF of these examples someday. would make for a sweet book, except i need to add some more theory.

Dude, i wanna jam with someone form Massassi!!! I got 800watt full stack and 14 guitars. I play lead metal, rock, punk, Hardcoar, and all tha new age ****. But the thing ive been really really into now is blues and jazz improvization. Lets Thrash!

There is this mode kinda scale thing that i was playing that was ana amazing warm-up for fast soloing. I think it was a G# something? Im not really sure. Some of you may know.