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Tag Archives: steve morse 3 Great Alternate picking exercises to help you play fast Alternate picking is a huge part of all players right hand technique and at the same time something that is very difficult to develop for a lot of students. TAB by Steve Morse. Welcome Offer: 80% OFF on annual membership of Ultimate Guitar Pro Try Now.
Air On A Six String - Steve Morse (guitar pro) 8: 78: Arena Rock - Steve Morse (guitar pro) 1: 79: Arpeggio Exercise - Steve Morse (guitar pro) 3: 80: Barbary Coast - Steve Morse (guitar pro) 3: 81: Battle Lines - Steve Morse (guitar pro) 59: 82: Brave New World - Steve Morse (guitar pro) 5: 83: Cascades Arpges - Steve Morse (guitar pro. Steve Morse Tabs with free online tab player. One accurate tab per song. Huge selection of 500,000 tabs.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Understand how chromatics can make your lines more interesting.
• Learn the ins and outs of the 'country chromatic scale.'
• Develop phrases that outline the chord changes.
Have you ever tasted red-hot, super-spicy buffalo wings that make your lips feel like they're on fire? The chromatic licks in this month's lesson are the guitar equivalent to those sweat-inducing bits of poultry. These are so hot your fingers will feel like they're on fire when you play them. Listen to guys like Steve Morse, Brent Mason, and Albert Lee play over a super-fast, train-beat groove—it's mind-blowing. They know how to use chromatic passing notes to fill in the gaps between scale tones to make licks sound like they just don't end, and that's what we'll explore in this lesson.
But first, let's back up a second. The chromatic scale is simple—it's all 12 notes that we use in Western music. In our quest to outline the chords we're playing over, we'll fudge this chromatic scale a little. We'll just outline the most important scale tones and leave a few passing tones out that don't sound as good as the others.
This style is reminiscent of bebop and swing jazz in the sense that you are addressing each chord as it goes by, instead of playing one scale over the entire progression. That said, we need to choose the notes that best outline the chords and make sure these notes fall on important beats in the measure. The most important notes in a dominant 7 tonality are the root, 3, 5 and b7. As you'll notice, these are all chord tones. In Fig. 1, you can see an example of what I'll call the 'country chromatic scale.' The formula for this scale is 1–2–b3–3–4–#4–5–6–b7.
The lick in Fig. 2 really outlines the 3 by including the chromatic note below it and above it in three octaves. This type of lick lies really well under your fingers, which makes it easier to play at quick tempos. It's very important to have a handful of licks that can get you through in a pinch when the drummer kicks off a smokin' fast train beat.
Sometimes it's fun to take a simple lick and add to it. Fig. 3 is an extension of that lick with a few more chromatic passing tones that outline both the 3 and the 5. Treat all these licks as templates. The purpose here is to show you ways to incorporate chromaticism into your licks. Take these ideas and add to them or invert them. Or take part of the lick and go in a different direction.
Last updated on April 13, 2019
If you're a fan of Steve Morse's playing, one of his most prominent techniques is alternate picking arpeggios instead of sweeping them. I think this is a great technique to have under your belt as it really heightens the dexterity of your picking hand, as well as giving that sweep-picking sound without having to learn to sweep pick. I personally prefer the sound of alternate picking arpeggios to sweep-picking arpeggios as they're not as obvious-sounding as when you change to sweep-picking on the fly. I remember my first guitar teacher showing me these exercises in the early 90s, but it was a fair few years later before I discovered the benefits of them.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Understand how chromatics can make your lines more interesting.
• Learn the ins and outs of the 'country chromatic scale.'
• Develop phrases that outline the chord changes.
Have you ever tasted red-hot, super-spicy buffalo wings that make your lips feel like they're on fire? The chromatic licks in this month's lesson are the guitar equivalent to those sweat-inducing bits of poultry. These are so hot your fingers will feel like they're on fire when you play them. Listen to guys like Steve Morse, Brent Mason, and Albert Lee play over a super-fast, train-beat groove—it's mind-blowing. They know how to use chromatic passing notes to fill in the gaps between scale tones to make licks sound like they just don't end, and that's what we'll explore in this lesson.
But first, let's back up a second. The chromatic scale is simple—it's all 12 notes that we use in Western music. In our quest to outline the chords we're playing over, we'll fudge this chromatic scale a little. We'll just outline the most important scale tones and leave a few passing tones out that don't sound as good as the others.
This style is reminiscent of bebop and swing jazz in the sense that you are addressing each chord as it goes by, instead of playing one scale over the entire progression. That said, we need to choose the notes that best outline the chords and make sure these notes fall on important beats in the measure. The most important notes in a dominant 7 tonality are the root, 3, 5 and b7. As you'll notice, these are all chord tones. In Fig. 1, you can see an example of what I'll call the 'country chromatic scale.' The formula for this scale is 1–2–b3–3–4–#4–5–6–b7.
The lick in Fig. 2 really outlines the 3 by including the chromatic note below it and above it in three octaves. This type of lick lies really well under your fingers, which makes it easier to play at quick tempos. It's very important to have a handful of licks that can get you through in a pinch when the drummer kicks off a smokin' fast train beat.
Sometimes it's fun to take a simple lick and add to it. Fig. 3 is an extension of that lick with a few more chromatic passing tones that outline both the 3 and the 5. Treat all these licks as templates. The purpose here is to show you ways to incorporate chromaticism into your licks. Take these ideas and add to them or invert them. Or take part of the lick and go in a different direction.
Last updated on April 13, 2019
If you're a fan of Steve Morse's playing, one of his most prominent techniques is alternate picking arpeggios instead of sweeping them. I think this is a great technique to have under your belt as it really heightens the dexterity of your picking hand, as well as giving that sweep-picking sound without having to learn to sweep pick. I personally prefer the sound of alternate picking arpeggios to sweep-picking arpeggios as they're not as obvious-sounding as when you change to sweep-picking on the fly. I remember my first guitar teacher showing me these exercises in the early 90s, but it was a fair few years later before I discovered the benefits of them.
Alternate Picking Arpeggios provide a gratifying workout for your picking hand, as well as improving your overall hand coordination no end. If you're new to this technique, it basically involves alternate picking an arpeggio instead of sweep-picking it; that's really all there is to it. This exercise also adds another dimension to your alternate picking as you're going from linear scalar-type picking to applying vertical movement to alternate picking.
To get this technique going, I like to start off with a pattern across three strings, then add in the others. There are a couple of benefits here: a) you won't get frustrated by starting off with a big shape, and b) you'll practice all the nuances of changing strings on an upstroke and a downstroke.
Here's the first pattern (we'll use an A Major arpeggio as you'll see by pattern 4). Whenever I can, I like to use these numbered diagrams instead of tab or notation as a lot of people seem to like them. Simply follow the number sequence and repeat it ad nauseam using alternate picking starting on a downstroke.
Pattern 1
Steve Morse Music Man Guitar
Steve Morse Guitar Lesson Pdf Lesson
Steve Morse's 80/20 Rule
I like Steve Morse's 80/20 rule when learning a lick or run which is to play at slowly 80% of the time without making any mistakes, but play it as fast as you can 20% of the time so that you have the experience of both and they eventually meet in the middle.
Pattern 2
Once you're ripping through pattern 1, or you're comfortable with it, try pattern 2, again starting on a downstroke and following the number sequence:
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Pattern 2 probably slowed you up a little; this is because the picking sequence from pattern one is now reversed. Don't worry, this is intentional and will help you work through the nuances of alternate picking required to perfect this technique.
Pattern 3
For pattern 3 we add another note and reverse the picking of the previous pattern again. Follow the number sequence (1-11 here) starting on a downstroke.
Ernie Ball Steve Morse Guitar
And finally, here's Pattern 4 which is the complete A Major arpeggio:
At this point you should be fairly comfortable with the technique and be able to execute this arpeggio consistently at a good speed. Try moving it up and down the fretboard to expand the technique to all fret sizes, then you could follow the same procedure for any other arpeggio shapes you like the sound of. If you want a more in depth look at this technique, check out Troy Grady's reverse engineering of it with the man himself.
