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5 Pentatonic Sweep Picking Patterns in the key of A

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Sweep picking is a picking technique that was invented and developed by jazz guitarists Chuck Wayne and Tal Farlow.

Later the technique was further developed by fusion guitarist Frank Gambale.

The quality of sweep picking is that it produces a fast and fluid sound (once you get the hang of it). This is because you only need few strokes as apposed to alternate picking.

While it is generally used for arpeggios, it can also be applied to scales, 3 notes per string licks and… well just anything really.

In this topic we’ll be covering 5 pentatonic patterns in the key of A. If you already know how to play the 5 pentatonic shapes using alternate picking and you want to try sweep picking for a change to make it sound more fluid, give it a more Gambale feel to it or just to see where it will take you, this one’s for you.

You don’t have to choose one picking technique for your style of playing. A lot of guitar players combine both. They use alternate picking mainly and apply sweep picking occasionally for particular licks or arpeggios.

Sweeping
For the alternate picking approach you go “down, up, down, up, down, up” with the picking hand. In the scale patterns below you also use alternate picking except when changing strings you’ll be picking in the direction of where you’re heading. Use a downstroke if you’re changing to a higher (pitch) string and use an upstroke if you’re changing to a lower (pitch) string.

You can see the down and upstroke symbols in the scale patterns right between the standard and tablature notation. The downstroke symbol looks like a hurdle for track and field, the upstroke symbol looks like a “V”.

I have to admit the pentatonic patterns are quite a stretch. Major scales are much easier to play, but for the rock and blues players out there we don’t want to miss out on the pentatonic.

It takes a bit of practice to get used to the sweep picking feeling but hang in there. After a while it feels so natural and easy. It’s the path of least resistance.

Have fun!
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How to Easily Find Any Note On The Guitar with Octaves

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Most intermediate guitar players can find the notes across the neck on the 6th (low E) and 5th string (A). This is essential for learning barre chords, soloing and a lot of other stuff. If you don’t know the notes on the 6th and 5th string yet check out Learn The Guitar Fingerboard Thoroughly in 16 Days

Once you’ve memorized the notes on the 6th and 5th string you can easily find any other note on the guitar. You can do this with octaves. An octave is in essence an interval whose higher note has a frequency of vibration twice that of its lower note.

If you think in notes, an octave is an interval with the distance of 12 half steps (12 frets) in the chromatic scale. For example, if you’re on the 1st fret, 6th string (F note) and go up 12 frets, which will take you to the 13th fret, you will also hit on an F note only one octave higher. You can apply this to every fret and every string.

If you think scale wise, an octave is the distance of 7 notes in the diatonic scale. So if you start on the first note of a scale and you go up 7 notes in the scale you arrive on the 8th note which is the octave.

Each of the diagrams below shows an octave, that means the notes share the same name except one note is higher or lower than the other. Now we can find the name any note or octave on the entire neck.

Let’s take a closer look

DIAGRAMS 1 – 8:
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Pentatonic Scale Shape Exercises Around The Fretboard

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A lot of guitar players use only one pentatonic position / shape: The first position (E shape) it’s because it’s the most comfortable shape to play in.

That’s great if you start out with soloing, in fact it’s better to stay with that for a while to explore all the possibilities and to really be able to improvise with that one shape.

But after some time it’s good to get out that box and discover more of the world. Wouldn’t it be great to attain the freedom to use the entire fretboard for all your rock, blues, country and heavy metal soloing? It’s the next step to becoming a complete guitarist.

To expand your reach on the fretboard beyond the most popular pentatonic position #1 (E shape), you need to learn all five pentatonic positions, also known as shapes. If you haven’t learned the five pentatonic shapes yet check out: The Five Pentatonic Scale Shapes You Must Know

This post is to designed to give you some extra exercises (once you’ve learned the five shapes) to really get those shapes down.

Have fun!
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The Vital Keys to Playing Slow And Fluently Fast

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“In order to play fast you need to play slow.” A saying that holds the keys to the Lamborghini, but has been quoted so many times by teachers and guitar heros that it almost seems it has lost its significance.

A lot of guitar players feel like it’s a myth, some are not familiar with the saying and others easily ignore it.

They can hardly believe that it’s true or don’t think it’s that important. But let me tell you, it is! It is that important.

How to Play Fast

I’ve been there and I’ve wasted my share of time. So memorize this phrase “In order to play fast you need to play slow.” and apply it to every guitar workout. It will make all the difference in the world.

So why do you want to play fast in the first place? Maybe you just don’t like the speed-ass shredders and monster lick killers that are racing the fretboard with 250 miles an hour. Well you don’t have to! Because learning to play fast is not just about speed soloing, it’s about developing dexterity.

Once you’ve increased your level of speed and learned to play faster your fingers will move a lot more smoothly across the fretboard. It’s almost seems like your fingers have gotten little wings. And that’s great for everything you play. No matter if you’re into blues, jazz, classical, country or metal.

Playing slow will not only help you develop dexterity, but also to play correctly, clean and clear as you become faster. Playing guitar will become effortlessly.

Let’s take a closer look:

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