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PAGANINI’S 24 CAPRICES OPUS 1: A TRANSCRIPTION FOR ELECTRIC
GUITAR, AND ANALYSIS AND DEVELOPMENT OF THE TECHNIQUES
REQUIRED TO PERFORM THEM
Andrew Russell Davenport
A thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand
March 2008
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2
Acknowledgements
I thank my supervisors Donald Maurice, Alan Badley and Matthew Marshall for their
help, encouragement and enthusiasm through the years.
I would also like to thank Libby and Danny for their support and tolerance for all the
music and endless hours of practicing. My thanks also go to my parents for their love
and support, especially my mother Elizabeth Davenport who passed on before the degree
was completed.
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Abstract
Since the late 1970s much interest has been shown in the development of electric guitar
technique. Advances have been considerable, enabling players to explore new genres and
repertoires but development methodologies have remained woefully fragmented. A new
approach that sets out to promote electric guitar technique with development
methodology is the purpose of this study. To this end, a process of transcription
combined with an advanced technical analysis has been undertaken including a full
categorization of the technical subgroups extant within each Caprice. The hypothesis
behind this task has been to ascertain whether a ‘technical essence’ could be discovered
in the Caprices and how that could be imparted in the process of transcription.
Transcribing the 24 Caprices for the electric guitar disclosed the technical components
required for development which were then reduced to their constitute elements. The
virtuosity and variation within the Caprices ensured that the each identified technique
was developed to a high degree. The subjective nature of transcription ensured that
multiple solutions were explored when a single solution to a technical problem was not
obvious.
The analysis section of the study demonstrated that three fundamental techniques were
required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and
pull-offs. The analyses also provided trends showing how each technique needed to be
developed to comprehensively cover all twenty-four pieces.
In conclusion, the hypothesis was found to be correct.
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Contents
Hypothesis.......................................................................................................................... 8
Introduction....................................................................................................................... 8
Section One
Chapter One: Literature, historical, technical and recording review
1.1 LITERATURE REVIEW ................................................................................................................. 18
1.2 HISTORICAL AND TECHNICAL REVIEW........................................................................................ 24
1.3 RECORDING REVIEW................................................................................................................... 41
1.4 CHAPTER SUMMARY .................................................................................................................. 45
Chapter Two: Electric guitar set-up
2.1 INTRODUCTION........................................................................................................................... 47
2.2 HARDWARE................................................................................................................................ 49
2.3 CHAPTER SUMMARY .................................................................................................................. 64
Chapter Three: Factors common to most styles of guitar playing
3.1 INTRODUCTION........................................................................................................................... 66
3.2 FUNDAMENTALS ........................................................................................................................ 66
3.3 NOTE EXPRESSION ..................................................................................................................... 73
3.4 TIMBRE ...................................................................................................................................... 84
3.5 CHAPTER SUMMARY .................................................................................................................. 84
Chapter Four: Analysis
4.1 INTRODUCTION........................................................................................................................... 85
4.2 BREAKDOWN AND CATEGORIZATION ......................................................................................... 92
4.3 ALTERNATE-PICKING ................................................................................................................. 94
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4.4 DOUBLE-HANDED FINGER-TAPPING............................................................................................ 98
4.5 LEFT-HAND TECHNIQUES ......................................................................................................... 102
4.6 TECHNICAL COMBINATIONS ..................................................................................................... 103
4.7 CHAPTER SUMMARY ................................................................................................................ 107
Chapter Five: Sweep-picking
5.1 INTRODUCTION......................................................................................................................... 108
5.2 FUNDAMENTALS ...................................................................................................................... 109
5.3 MICRO ELEMENTS.................................................................................................................... 120
5.4 MACRO ELEMENTS ................................................................................................................... 124
5.5 STATIC POSITION ARPEGGIOS ................................................................................................... 128
5.6 LINEAR MOTION ....................................................................................................................... 154
5.7 STRING-SKIPPING SWEEP-PICKING............................................................................................ 172
5.8 CHAPTER SUMMARY ................................................................................................................ 187
Chapter Six: Alternate-picking
6.1 INTRODUCTION......................................................................................................................... 189
6.2 FUNDAMENTALS ...................................................................................................................... 189
6.3 MICRO ELEMENTS .................................................................................................................... 193
6.4 MACRO ELEMENTS ................................................................................................................... 202
6.5 CYCLIC ROTATION ................................................................................................................... 205
6.6 LINEAR MOTION ....................................................................................................................... 212
6.7 LINEAR MOTION, SEQUENCES, AND ARPEGGIOS........................................................................ 231
6.8 STRING-SKIPPING AND LINEAR SHIFTS...................................................................................... 246
6.9 PEDAL TONES AND STRING-SKIPPING........................................................................................ 251
6.10 BEYOND THE PEDAL TONE CONCEPT ........................................................................................ 269
6.11 THREE-NOTE-PER-STRING ARPEGGIATION................................................................................ 270
6.12 CHAPTER SUMMARY................................................................................................................. 274
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Chapter Seven: Hammer-on and pull-off techniques
7.1 INTRODUCTION......................................................................................................................... 277
7.2 FUNDAMENTALS ...................................................................................................................... 277
7.3 LEFT-HAND HAMMER-ONS AND PULL-OFFS ............................................................................. 297
7.4 SINGLE-FINGER FINGER-TAPPING ............................................................................................. 309
7.5 MICRO ELEMENTS .................................................................................................................... 310
7.6 MACRO ELEMENTS ................................................................................................................... 318
7.7 MULTI-FINGER TAPPING ........................................................................................................... 328
7.8 MICRO ELEMENTS AND ELEMENTARY MULTI-FINGER-TAPPING ................................................ 329
7.9 MACRO ELEMENTS ................................................................................................................... 339
7.10 CHAPTER SUMMARY................................................................................................................. 360
Chapter Eight: Chordal technique
8.1 INTRODUCTION......................................................................................................................... 361
8.2 FINGER PICKING TECHNIQUES .................................................................................................. 370
8.3 CHAPTER SUMMARY................................................................................................................. 374
Section Two
TRANSCRIPTIONS OF THE CAPRICES ........................................................................................................ 378
KEY FOR TECHNICAL OVERVIEWS........................................................................................................... 389
CAPRICE I ............................................................................................................................................... 392
CAPRICE II.............................................................................................................................................. 399
CAPRICE III ............................................................................................................................................ 409
CAPRICE IV ............................................................................................................................................ 415
CAPRICE V ............................................................................................................................................. 430
CAPRICE VI ............................................................................................................................................ 439
CAPRICE VII........................................................................................................................................... 452
CAPRICE VIII ......................................................................................................................................... 465
CAPRICE IX ............................................................................................................................................ 478
CAPRICE X ............................................................................................................................................. 489
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CAPRICE XI ............................................................................................................................................ 500
CAPRICE XII........................................................................................................................................... 513
CAPRICE XIII ......................................................................................................................................... 519
CAPRICE XIV ......................................................................................................................................... 524
CAPRICE XV .......................................................................................................................................... 530
CAPRICE XVI ......................................................................................................................................... 535
CAPRICE XVII........................................................................................................................................ 542
CAPRICE XVIII....................................................................................................................................... 548
CAPRICE XIX ......................................................................................................................................... 554
CAPRICE XX .......................................................................................................................................... 561
CAPRICE XXI ......................................................................................................................................... 567
CAPRICE XXII........................................................................................................................................ 575
CAPRICE XXIII....................................................................................................................................... 580
CAPRICE XXIV ...................................................................................................................................... 589
Conclusion ..................................................................................................................... 605
Bibliography .................................................................................................................. 608
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Hypothesis
Through transcription, and analysis of the resulting guitar techniques, it is possible to
identify, extract and develop the technical elements required to play Paganini's 24
Caprices on the electric guitar
Introduction
Since the late 1970s, electric guitar technique has undergone a technical revolution.
Arguably, this can be viewed as a natural progression precipitated by artists from the
mid-1960s and early 1970s such as Jimi Hendrix, Jimmy Page and Jeff Beck.
As popular instructional mediums such as periodicals and videos/DVDs became more
widespread, electric guitar technique and its development thrived. Access to these types
of media led many electric guitar players into musical genres otherwise unexplored.
One such genre was extremely prevalent in the 1980s, popularly labelled “neoclassical”.
Spearheaded by electric guitar players such as Yngwie Malmsteen and Tony MacAlpine,
this genre borrowed heavily from baroque, classical, romantic and 20th century music.
Popularized by such players, many electric guitarists took an interest in traditional
instruments, learning methodologies for developing technique, disciplined practice
routines and performance practices.
With this renewed interest, many electric guitar players became obsessed with technical
expertise and its development. This pushed guitarists to find progressively more difficult
pieces of music to dissect and perform, and to compose new music.
9
Thesis objectives and by-products
The technical extrapolations and transcriptions utilized in this study are extensive. Such
an in-depth investigation will help extend the application of electric guitar technique.
Although, arguably described as a derivative of acoustic nylon string technique, this
study clearly defines the electric guitar as a technically evolving instrument with unique
demands. As such, it is capable of virtuosity equal to any solo orchestral instrument.
This investigation reveals an expanded range of technical possibilities for composers and
performers, the practical applications of which stretch far beyond the neoclassical
musical genre.
More specifically, many of the technical derivatives presented in this study serve to aid
composers of orchestral music. With a greater understanding of the technical
possibilities, a virtuosic compositional approach can then be further developed in
established forms such as the concerto. This form is just one of the fields that have
remained for the most part untapped by composers of western art music, partially due to
the lack of knowledge of electric guitar technique that this paper aims to rectify. Existing
compositions do not adequately exploit the electric guitar's strengths, expressive nature
and subtleties.
Due to the advanced state of development required for performing the Caprices, most
aspects of established electric guitar technique are addressed. By filling in the technical
gaps created when solely focusing on a specific compositional style, a systematic
learning methodology for guitar technique in general can be created. This is a valuable
by-product of such a study.
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Approach
Widely renowned as the pinnacle of advanced violin technique, the Caprices by Niccolo
Paganini provide an excellent vehicle from which development of advanced electric
guitar technique can occur. The diversity of violin techniques is mirrored in the technical
solutions required for performance on the electric guitar. In order to build on the
technical renaissance of the 1980s an in-depth knowledge of influential performers and
their technical contributions is necessary.
Performing the Caprices on the electric guitar requires a combination of both physical
and musical attributes.1 In all performance, a high degree of musicality is essential.
However, musicality cannot be achieved in this case without attaining an advanced state
of physical dexterity, making it for the purposes of this study the primary concern. This
basic distinction applies throughout the investigation.
The interdependent nature of physical technique and musicality, dictate to a certain
degree the technical solutions presented. Appropriate technique assignment is highly
subjective, as it is on the violin,2 allowing exploration of many different solutions and
their consequent development. It is the advanced evolution of these techniques and their
interactions that provides the core focus of this study.
Methodology
The methodology is divided into a number of related areas, of which transcription is the
initial step. This process helps identify the efficient technical solution/s for each musical
1 Jas Obrecht, ‘Rising Force’. Guitar Player, Vol. 19, No. 5, May 1985, pp. 58-74. 2 Donald Maurice, ‘The Art of Vocal Fingering in String Playing’. American String Teacher, Vol. 56, No. 3, August 2006, pp. 27-31.
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scenario. Moreover, it allows identification and correlation of the individual elements
fundamental to each caprice.
From a technical perspective, each caprice is comprised of multiple micro-techniques that
combine when performing a musical passage. To grasp these techniques which must be
developed, it is necessary to classify them in a technical overview. This information can
then be used for analysis and categorization of micro and macro-techniques specific to
each caprice. The technical overview is also used to instantly ascertain the predominant
technique/s.
Technical preparation often precedes an event by several bars. However, such an event
when viewed in isolation can appear nonsensical, requiring an explanation behind the
rationale of such technical decisions. Within this type of investigation, decisions on why
technical solutions have been implemented are as important as the solutions themselves.
Therefore, each caprice is prefaced by relevant technical commentary.
By using the overviews it is possible to place the Caprices into general categories.
However, in many of the Caprices multiple technical elements are combined to achieve a
successful musical result. Nevertheless, there are a small number that rely heavily on one
specific technique, making them relatively easy to categorize.
By isolating and identifying the micro-elements, the technical breakdown table helps
group the musical and physical aspects into categories. This form of categorization is
used to identify the main physical techniques. From here it is possible to identify
individual elements (the technical essence) that can be targeted for development.
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Once achieved, it is possible to design musical exercises that specifically target and
outline the required learning framework, the sole focus of which is the development
required to perform the Caprices and eventually transcend their imposed technical
boundaries.
Chapter Précis
Chapter 1 elucidates issues in ascertaining technical insight and development from
different types of media. It also reviews recordings, discussing strengths and weaknesses
of versions of the Paganini works already available. Additionally, it places the electric
guitar in its modern context whilst discussing issues of legitimacy in relation to the
pursuit of virtuosity. The importance of understanding the electric guitar’s place in
popular culture and how that has influenced its technical evolution is also addressed.
Related to this issue is an understanding of certain historical aspects, including
technically influential guitarists and their contributions.
Chapter 2 investigates the commonality that exists in electric guitar playing irrespective
of musical genre and its importance, such as aspects of vibrato and note colouring that
provide a distinct personality to musical performance.
Chapter 3 discusses the unique technical demands of the Caprices which require an
understanding of the electric guitar's hardware and its function. Closely related to this is
the set-up of electric guitar hardware for optimum efficiency.
13
Chapter 4 identifies and analyzes the general technical trends found within the Caprices.
This provides much of the raw data and weighting needed to determine the necessary
analytical depth in the chapters discussing technical development. In order to efficiently
achieve this, both a notation summary and full breakdown table are used.
Chapter 5 includes aspects of sweep-picking present in the Caprices, in addition to their
combinations with alternate-picking. This begins with the fundamentals at the micro-
level expanding contextually into the more complex requirements of the Caprices.
Chapter 6 provides an investigation into alternate-picking as required to execute the
Caprices. It includes aspects of single-string, adjacent-string and string-skipping motion
contextually relevant to the Caprices.
Chapter 7 addresses hammer-ons and pull-offs. These techniques are divided into three
distinct sections; left-hand hammer-ons and pull-offs, single-finger finger-tapping and
double-handed finger-tapping. The left-hand hammer-on and pull-off portion includes
the creation of initial string vibrations, left-hand fingerings, dampening and plectrum
usage. The single-finger finger-tapping section is solely focused on the development of
the techniques utilized in ‘Caprice No. 6’. This includes a combination of left-hand
hammer-ons and pull-offs and single-finger finger-tapping. The final section in this
chapter is dedicated to double-handed finger-tapping, arguably the most difficult of all
electric guitar techniques. This is largely due to its pianistic approach with each hand
autonomously generating string vibrations. Although this technique vastly expands the
electric guitar’s repertoire, development revolves around its application to the Caprices.
14
Chapter 8 investigates the compositional style of the Caprices and their utilization of
chord shapes and deals with techniques used to best facilitate chord execution. The three
main technical categories addressed are finger technique, chicken-picking and chordal
strumming.
Section Two of the thesis is comprised of the transcriptions and begins by reviewing a
range of editions that have been released in both e-book and hard copy. Also covered is
the degree to which the Peters Edition of the original violin version has been adhered to
in the transcriptions, along with digressions, presentation and guitar issues.
The transcriptions of the Caprices are each prefaced by a technical overview and notes.
The notes cover a variety of points of interest pertaining to technique and the rationale on
why certain solutions were utilized.
Acknowledged omissions
This study acknowledges that there are a number of associated areas that are fields of
study in their own right, such as contextual concerns related to Paganini’s guitar works
and the history of the Caprices. However, in order to maximize the focus of this thesis
they were outside the designated parameters of this study. A cursory understanding of
violin technique, musical history of electric guitar and recorded interpretations of the
works are included (along with a music source-list) in order to support the central focus
of the study.
Editorial note
Fingerings
A fundamental convention is that of fingering notation. This study utilizes a simple
system that avoids any confusion that might arise with nylon string fingerings. When
placing the hands flat on the surface finger labelling is as follows.
Finger labelling
4 3 2 1 1 2 3 4
Hand identification and perspective
Just as finger labelling needs to be defined to avoid confusion, so too do the hands.
Although it can be argued that the right and left hand should be labelled according to
function, for ease of understanding they will be referred to as right-hand (plectrum hand)
and left-hand (finger-board hand). Moreover, all examples are from the perspective of
the right-hand guitarist, using the convention of left-hand on the finger-board and right-
hand holding the plectrum.
Notation
In English two main notational systems for labelling note values are employed, the
British system employing semibreve, minim, crotchet, quaver and semi-quaver, and the
15
16
American system employing whole note, half note, quarter note, eighth note and
sixteenth note. While both have equal merit, the technical nature of this paper, the
extensive use of small note values in the Caprices, the American predominance in the
development of electric guitar technique and the American source of the majority of the
references, made the universally understood numerical terminology the system of choice
for this study.
Accompanying compact disc
The Caprices presented on the compact disc format have been selected as they cover
most of technical elements discussed in the study. ‘Caprice No. 1, 5 and 16’ were
recorded using an 8 string guitar with 29 frets, whilst ‘Caprice No. 13 and 20’ were
recorded using an 8 string guitar with 24 frets.
Referencing
While following New Zealand School of Music style guidelines with regard to format,
the author/editor agreed with supervisors to adopt the American terminology for note
values and general spelling. This is due to the environment in which most previous
research exists and is the most likely environment in which extracts may be published.
Summary
In focusing on identifying, extrapolating and developing the technical elements required
to address the thesis topic, this study reveals benefits to both performers and composers.
Additionally, the transcription methodology aids in a more systematic approach to the
development of electric guitar technique.
17
Extensive use of reference material is required in conjunction with a historical context, in
order for correct transcription choices to be made. The subjective nature of transcription
requires a broad knowledge base of historical aspects, technically influential guitarists
and their contributions and a practical application of the techniques in recordings.
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Section One
Chapter One: Literature, historical, technical and recording
review
1.1 Literature Review
1.1.1 Introduction
By utilizing a diverse and broad pool of information it is possible to systematically
identify and avoid inherent dangers that may be associated with use of literature and
media to ascertain insight into electric guitar technique. To gain an insight into “correct”
technique, one form of literature often functions as a natural check on another and when
used in conjunction with one another a more insightful perspective on technical solutions
can be ascertained.
The electric guitar's popularity is to some degree proportional to the status of the music
genres in which it is employed. Consequently, literature publications and their content
follow similar trends to popular music. This can be seen in main-stream guitar
periodicals, the content of which rely heavily on musical transcriptions and lessons to
help maximize their distribution. Therefore, the musical and technical information
disseminated by these publications is of limited use when examining advanced electric
guitar technique. However, when popular musical trends utilize a more advanced style of
playing, as they did in the 1980s, examination of periodicals from that time frame can
reveal useful technical insight and information.
19
Much of the technical insight within this kind of literature is gained through examining
transcriptions of more advanced music, or alternatively, columns, lessons and articles
written or recorded by the players themselves.3 This can reveal technical stylistic
signatures of individual players as well as certain trends in equipment, plectrum usage
and learning methodologies.
1.1.2 Guitar periodicals
There are a number of guitar periodicals which provide scholarly dissemination of
technical information about the electric guitar and its associated fields of interest. Guitar
periodicals such as Guitar World, Guitar, Guitar Techniques, Guitarist and Total Guitar
fall into this category. However, Guitar Player is arguably considered the most
mainstream. Catering for both amateur and professionals,4 it features guitar lessons,
columns, technical insight on theory, and peripheral aspects such as amplification and
pickups. However, as trends changed in the mid 1990s, so too did Guitar Player’s
interest in the more technical aspects of electric guitar technique, opting to feature players
from more popular music genres.
1.1.3 Contextual technical development
The problematic nature of allowing musical trends to influence one’s technical
development can create a fragmented learning methodology. This can create a situation
whereby aspects of essential development are ignored, due to the fact that they are “out of
style” with contemporary popular music. A good example is the guitarist Joe Satriani.
His technical skills arose from listening to Jimi Hendrix, The Rolling Stones, Blues and
3 Paul Gilbert started writing a column called “Terrifying Guitar 101” for Guitar Player in 1989. 4 Malmsteen habitually reads Guitar Player. Obrecht, ‘Rising Force’, pp. 58-74.
20
other related musical genres.5 Consequently, his technique relies heavily on hammer-ons
and pull-offs, as do many blues players, which largely ignores areas of development such
as alternate-picking.
It can be argued that this conundrum is exacerbated by the periodicals, thus illustrating
one inherent danger of relying on literature alone for the dissemination of information
about pure technique. However, periodical literature can be utilized with a certain degree
of caution, when moderated by other forms of media such as video/DVD footage. This
theme is present in many guitar playing periodicals such as Total Guitar and Young
Guitar, the publishers of which regularly release accompanying instructional DVDs.
1.1.4 Guitar playing and visual media
While visual media6 also has its inherent dangers when learning electric guitar technique,
since the 1980s it has been the preferred medium by many guitarists. Moreover, this
form of media can arguably be described as catalytic in nature, in terms of further
conveying aspects of technique. This occurs though video lessons and master classes by
renowned technical virtuosos.
With the mass production and distribution provided by videotapes, a much wider
audience of electric guitarists has easily gained access to technical insights, previously
only attained through individual tuition. However, although guitarists worldwide gained
access to a plethora of technical information, learned through observation, the limitations
of the media became apparent. Many technical and musical aspects of an individual's
5 Joe Satriani, The Satch Tapes, USA, Sony Music Distribution, 1992. 6 This includes DVDs, video discs, video tapes and any other visual method of conveying technical lessons to a vast audience.
21
guitar style are built up over many years, making it impossible to convey during a one-
hour visual lesson. Due to this fact, the majority of lessons were focused on technical
issues such as left-hand fingering and plectrum technique. Many of the equally important
issues such as string tone, accents and plectrum pressure, were all but completely
ignored. This is best illustrated at the beginning of Paul Gilbert’s second instructional
video7 where he mentions the need to correct a number of “mistakes” that he had made
on his previous video. Rather than being mistakes they were actually omissions which
consisted of note colourings, vibrato and accents. These aspects are second nature to
guitarists with advanced technique, however, without them being specifically mentioned
they can be easily overlooked. This illustrates one of the main concerns that can occur
when relying solely on video instruction for insight into technical development.
1.1.5 Discography issues
Utilization of a discography is reliant on one's ability to hear everything as it occurs in
real time (speed reduction technology not withstanding). Therefore, accuracy in
discerning technical elements is best achieved when used with visual media and
transcriptions. The need for transcriptions arises because the same melodic phrase can be
expressed in many different positions on the electric guitar, with different groupings of
strings and different gauges. Unless the individual using the discography is extremely
accurate in terms of discerning the subtle string gauge differences, incorrect, ineffective
or inefficient technique can result.
The musical example below illustrates this, utilizing a simple four-note pattern, all
examples of which are valid with the first being the most efficient. In this case, all notes
7 Paul Gilbert, Intense Rock 2, Seattle: R.E.H. Publications Inc., 1991.
are played on the flat wound strings. This makes the subtleties even more difficult to
distinguish, without an understanding of the guitarist’s idiosyncratic technical
methodologies.
Even with the transcriptions from a reputable source there are no guarantees that the note
choice is 100% accurate, with inconsistencies being more apparent at fast tempi. A good
example of this are the numerous transcriptions of Paul Gilbert’s ‘Scarified’,8 of which
the final section contains adjacent string sweep-picking arpeggios.9 However, on
examination of DVD material in which Gilbert physically demonstrates the final section,
it becomes apparent from the outset that this section is executed using string-skipping, in
conjunction with hammer-ons and pull-offs.10 Gilbert's preference for string-skipping
arpeggios11 as opposed to sweep-picking has become one of his cornerstone techniques.12
This is inconsistent with the transcriber’s choice of sweep-picked adjacent string motion
and intervallic dispersal of the notes. This illustrates one of the main dangers of being
solely reliant on a discography without visual media to aid in the transcription and
ultimately the technical development process.
8 Racer X, Second Heat, Shrapnel Records, Inc., SH-1032, 1986. 9 Dave Whitehill, ‘Trading Licks, Scarified’. Guitar World, Vol. 9, No. 4, May 1988, pp. 103-10. 10 Paul Gilbert, 100% Racer X, Japan: YG Factory Inc., 2001. 11 Gilbert, Intense Rock 2, 1991.
2212 Paul Gilbert, Guitar Techniques, England: Future Publishing, 2006.
23
1.1.6 Technical trends and literature
Many “cutting edge” electric guitar players specialize in one or two genres of music with
their technical focus reflected in the literature and videos that they produce. For example,
the jazz fusion guitarist Brett Garsed is heavily influenced by Alan Holdsworth.13
Consequently a comparison of their guitar styles reveals a great many similarities,
especially in the overall legato touch of both players.14 Therefore, material produced
within Garsed’s instructional video and compositions reflects this influence, irrespective
of whether it is technically correct. At the other end of the spectrum Michael Romeo and
Joe Stump are both heavily influenced by Yngwie Malmsteen, as can be seen in their
aggressive alternate-picking styles and neo-classical vocabulary.15 Herein lays the
problem of using material from one or two individual electric guitarists or genres of
music to gain a balanced technical overview, with some genres favoring different
techniques.
1.1.7 Literature summary
Through in-depth analysis of an individual’s guitar style it is possible to provide a clear
picture of the guitarist’s technical strengths and weaknesses. However, if a broad pool of
guitarists is examined through observation of visual media and supported by literature,
transcription and discography, a more balanced technical viewpoint can be gained.
Moreover, this makes it possible to identify and avoid any technical shortcomings that
may adversely affect development required for the Caprices and beyond.
13 Brett Garsed, Rock Fusion, Miami: Warner Bros. Publications Inc, 1995. 14 Observed in Allan Holdsworth, REH Instructional Video, Seattle: R.E.H. Publications Inc, 1992. ; Brett Garsed, Rock Fusion, Miami: Warner Bros. Publications Inc., 1995. 15 Romeo, Michael, The Guitar Chapter, Japan, YG Factory Inc., 2000. ; Joe Stump, Arpeggio Lesson Volume 1, USA: Digital Dad 65 Productions, 2003.
24
1.2 Historical and technical review
1.2.1 Introduction
To first gain an understanding of the innovations that have occurred in electric guitar
technique, it is essential to understand certain historical aspects of the instrument. This
places electric guitar technique in its modern context, illustrating its practical application
in a musical framework. Moreover, to a certain extent an understanding of where electric
guitar technique has evolved from, can aid in developing a methodology applicable to the
Caprices.
1.2.2 Cultural History
Virtuosity and its relationship to classical music had particular appeal to electric guitarists
in the 1970s and 80s for a number of reasons.16 One reason was a drive to elevate the
status of the instrument to equal classical virtuoso instruments such as the violin.
Seeking such legitimization was not uniformly productive17 and one could question why
guitarists sought to acquire technical facility of this sort and why virtuosity should be
such a desired goal. On balance, however, one can say that the movement revealed that
the theoretical and technical demands of classical study could serve to increase the scope
of the electric guitar’s voice rather than impair it.18 Moreover, the ability to read music
to a high level undoubtedly encourages composers to write for an instrument. To
advance technical progression and to provide technical repertoire in the way that is
addressed in this study, expands the potentially limited dimension of the electric guitar
16 Robert Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, USA: Wesleyan University Press, 1993, p. 58. 17 Ibid 18 Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, p. 59.
25
ider
rocess.
from a purely aural base to embrace score reading as the starting point to discover a w
range of genres and a new involvement with the creative p
1.2.3 Technical innovators of the 1960s and 1970s
The electric guitar is one of the most popular musical instruments in the Western world.
Its rapid rise in popularity is due to many factors, one of the more pertinent in this period
of time being the mystique surrounding the “guitar hero”.19
The most notable of all the guitar cult heroes20 was Jimi Hendrix, arguably the greatest
electric guitarist of all time.21 From his initial appearance on the music scene his impact
has been apparent with his flamboyant22 and often outrageous stage antics.23 Irrespective
of the heavy commercial pressures he experienced,24 his spontaneous25 and frequently
erratic26 approach to electric guitar playing was reflected in his often disorganized
recording sessions.27
His command of the heavy blues style helped to pioneer today's advanced electric guitar
technique. His influences can be seen in pentatonic phrases, 28 vibrato,29 dampening,30
19 Steve Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Cambridge, Massachusetts, London: Harvard University Press, 2001, p. 238. 20 Ibid 21 Alan Di Perna, ‘Axes to Grind’. Guitar World, Vol. 15, No. 7, July 1995, pp. 50-186. 22 Chris Welch, Hendrix. Wellington: Alister Taylor Publishing Ltd, 1973, p. 7. 23 Although often seen as the first one to act so outrageously on stage, guitarists such as Eddie ‘Guitar Slim’ Jones had been performing like this in the United States two decades before. Charles Shaar Murray, ‘Strat Cats’. Guitar World, Vol. 12, No. 6, July 1991, pp. 80-120. 24 Andy Aledort, ‘Electric Landlord’. Guitar World, Vol. 15, No. 7, July 1995, pp. 59-183. 25 Ibid 26 John McDermott, ‘Castles Made of Sound’. Guitar World, Vol. 15, No. 7, pp. 66-189. 27 Aledort, ‘Electric Landlord’, pp. 59-183. 28 Heard in ‘Bruce’s solo’, Racer X, Live Extreme Volume, Shrapnel Records, Inc., SH-1038, 1988. 29 Heard in ‘Overture 1622’, Yngwie J Malmsteen, Eclipse, PolyGram Records, Inc., 843 361-2, 1990. ; ‘Leviathan’, Yngwie J Malmsteen, Fire and Ice, Elektra Entertainment, 7559-61137-2, 1992. 30 Heard in ‘The Raven’, Tony MacAlpine, Edge of Insanity, Shrapnel Records, Inc., SH-1021, 1985. ; ‘Prelude/Into the Future’, Vinnie Moore, Time Odyssey, Squawk, Inc., 834 634-2, 1988.
26
and string bends31 of modern technicians, many of whom cite him as a major influence.32
Hendrix changed the perception of the electric guitar as an instrument, pushing guitar
boundaries and inspiring others to do likewise.
Jeff Beck was another key figure, whom Jimmy Page once described as “one of the
greatest guitarists to have emerged from rock and roll”. 33 Both Beck and Page grew up
in Surrey, with Page recommending Beck for the job in the Yardbirds,34 which he took
after leaving his band the Tridents.35
A showman in his own right,36 Beck worked as a session guitarist in the 1960s around
London before joining the Yardbirds and touring Europe with Page.37 He later left to
pursue a solo career gathering around him a succession of different band line-ups.38
Beck also became known for his outrageous stage antics,39 during which he demolished
guitars and blew up amplifiers.40 Nonetheless, his unique use of pentatonic phrasing,41
whammy bar phrasing,42 slide guitar,43 chicken picking,44 combined with a unique
melodic feel, gave him a distinctive sound. Beck arrived at a point in his career where he
was content that his job of delivering blues to a white audience was complete.45 This
31 Heard in ‘Disciples of Hell’, Yngwie J Malmsteen, Marching Out, Polydor, 825 733-2, 1985. ; ‘Quarter to Midnight’ (live solo), MacAlpine, Edge of Insanity, 1985. 32 Satriani, The Satch Tapes, 1992. 33 Jas Obrecht, ‘Jeff Beck’. Guitar Player, Vol. 14, No. 10, October 1980, pp. 56-86. 34 Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 244. 35 Murray, ‘Strat Cats’, pp. 80-120. 36 Ibid 37 Obrecht, ‘Jeff Beck’, pp. 56-86. 38 Some of these include Stanley Clark, Simon Philips, Jeff Bogart and Jan Hammer. 39 Murray, ‘Strat Cats’, pp. 80-120. 40 Obrecht, ‘Jeff Beck’, pp. 56-86. 41 Heard in Star Cycle, Jeff Beck, There and Back, FE-35684, Epic, 1980. 42 Heard in Pump, Beck, There and Back, 1980. 43 Obrecht, ‘Jeff Beck’, pp. 56-86. 44 Murray, ‘Strat Cats’, pp. 80-120. 45 Obrecht, ‘Jeff Beck’, pp. 56-86.
27
ric guitar.46
allowed him to continue to experiment with technique, vowing to further expand both the
boundaries of rock music and of the elect
Beck retained his individuality in the face of commercialism, whilst remaining on the
cutting edge of technique in whatever style he performed.47 This fact is seen in the
contrasting genres of music that appear on what have now become renowned as classic
albums, all of which feature his unique trademark Stratocaster sound. In the 1970s he
helped contribute to the field of electric guitar fusion with albums such as Wired,48 Blow
by Blow,49 and There And Back.50 The accessibility of Beck’s music to the general
listening audience has immortalized him as a major influence from the 1970s until the
present day, most notably to the guitar innovator Eddie Van Hallen.51
Not all influential guitarists however, came from a solo career background. In the 1960s
and 70s, rock band culture was a dominant market force in record sales. Consequently,
guitarists from these bands were extremely influential in the evolution of technique.
Led Zeppelin’s record sales over two decades are an obvious indication of the group’s
far-reaching influence on popular culture.52 The mainstay of the band was guitarist
Jimmy Page with his driving rifts,53 and his bridging of the acoustic/electric divide.54
Already a sought-after session player before he was sixteen, Page’s experience
46 Ibid 47 Ibid 48 Jeff Beck, Wired, Epic, PE 33849, 1976. 49 Jeff Beck, Blow by Blow, Epic, PE 33409, 1975. 50 Jeff Beck, There and Back, Epic, 1980. 51 Eddie Van Halen compares his approach to Beck’s stating …“Beck and I approach the guitar in kind of a spontaneous over the edge kind of way”, John Stix, ‘Life at the Top’. Guitar Classics Special Edition, Vol. 11, 1995, pp. 10-100. 52 Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 238. 53 Ibid 54 Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 239.
28
contributed to the band’s sound though production techniques,55 experimental sounds56
and unique tonality.57 Use of a violin bow58 on ‘Dazed and Confused’59 and the use of a
Theremin on ‘Whole Lotta Love’ are two such examples.60
His experience in the studio gave him the expertise to engineer and produce the classic
Zeppelin sound on such songs as ‘Stairway To Heaven’,61 ‘The Lemon Song’,62
‘Kashmir’,63 ‘Nobody’s Fault But Mine’,64 and ‘The Immigrant Song’.65 The band’s
studio and live sound largely revolved around John Bonham’s drums, which were
highlighted by Page’s production and recording techniques.66 Page saw the value of a
strong rhythm section, composing specifically to exploit the “groove” playing that had
developed between Bonham and John Paul Jones (bass).
Page was not merely a guitar innovator but an all-round musician, arranger and composer
even being compared to Paganini.67 Recognized as an innovator, his syncopated riffs,
heavy use of guitar polyphony and rhythmic and melodic phrasing, continue to influence
main-stream guitarists and innovators alike.
55 Ibid, “...the brains behind Zeppelins sonic brawn.” 56 Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 240. 57 Ibid, Page referred to these as “CIA” influences; Celtic, Indian, and Arabic. 58 Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 241. 59 Led Zeppelin, Led Zeppelin, Atlantic Records, SD 8216, 1969. 60 Led Zeppelin, The song remains the same, Swan Song Records, SS 2-201, 1976. 61 Led Zeppelin, Led Zeppelin IV, Atlantic Records, SD 7208, 1971. 62 Led Zeppelin, Led Zeppelin II, Atlantic Records, SD 8236, 1969. 63 Led Zeppelin, Physical Graffiti, Swan Song Records, SS 2-200, 1975. 64 Led Zeppelin, Presence, Swan Song Records, SS 8416 0698, 1976. 65 Led Zeppelin, Led Zeppelin III, Atlantic Records, SD 7201, 1970. 66 Brad Tolinski, ‘Jimmy Page’. Guitar World, Vol. 15, No. 5, May 1995, pp. 109-112. 67 Chris Welch referred to Page as the “Paganini of the 70s”. Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience, p. 240.
29
Another rock giant, Deep Purple’s contribution to popular music of its time was also
invaluable.68 The bands guitarist Ritchie Blackmore was stylistically very different to
Page. Where Page was heavily influenced by the blues, most apparent in the early Led
Zeppelin albums, Blackmore introduced guitar players to the intricacies of the classical
medium within the bands music.69 This was manifested in solos and melody lines from
one end of the spectrum to the other including fast heavy tunes such as ‘Burn’70 and
‘Highway star’71 and slow melodic songs such as ‘Soldier of Fortune’72 and ‘Child in
Time’73
Blackmore also helped pioneer the trade offs of “licks” and “riffs” between the keyboard
(Jon Lord) and guitar, something that Yngwie Malmsteen and others were to develop in
the 1980s. Blackmore’s well-documented volatile nature arguably contributed to his
emotive and sometimes erratic guitar solos.
As well as introducing a unique approach to guitar technique, he used a melodic and
harmonic vocabulary that complemented these technical innovations. Much of the guitar
solo vocabulary in the 1960s had a firm grounding in blues. More specifically, melodic
and harmonic content largely revolved around the pentatonic scale. Guitarists
predominantly used the first and third fingers to execute this scale due to its box-like
shape on the guitar neck.74 However, with Deep Purple's release of ‘Concerto for Group
68 Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, p. 61. 69 ibid 70 Deep Purple, Burn, Warner Bros, W-2766, 1974. 71 Deep Purple, Machine Head, Warner Bros, WB BS 2607, 1972. 72 Deep Purple, Stormbinger, Warner Bros, PRK 2832 1974. 73 Deep Purple, In Rock, Warner Bros, WS 1877, 1970. 74 Paul Gilbert, Intense Rock, Seattle: R.E.H. Publications Inc., 1988.
30
and Orchestra’,75 Blackmore started to exhibit a more progressive approach to widening
the musical boundaries of the electric guitar; a concept mirrored by the release of Yngwie
J Malmsteen’s ‘Concerto Suite for Electric Guitar and Orchestra’.76
Blackmore’s fluency when using harmonic minor, natural minor and major scales,
resulted in solos that often exhibited a distinctive modal flavor. However, his technical
inadequacies can be heard on a number of tracks, most notably ‘Burn’77 where he
struggles to maintain consistency whilst playing over a descending cycle of fifths.
Blakemore’s technical and harmonic vocabulary set the groundwork for many of the
more technique orientated players of today.
Black Sabbath is another band largely recognized for its impact and development of rock
and heavy metal music. Consequently, the band’s guitarist Tony Iommi has received
similar acclaim for his influence on many modern-day guitarists. Similar to Page and
Blackmore, Iommi epitomized Black Sabbath's music with his use of heavy guitar rifts.
His distinctive sound is owed largely to his original and innovative (at the time) approach
of detuning his guitar.78 The loose strings added a distinguishing dark sounding quality
to the riffs, which helped to immortalize Iommi to many guitarists.79
Stylistically different, Iommi utilizes his first and four fingers extensively to play
pentatonic shapes and phrases. These would more traditionally be played with the first
75 Deep Purple, Concerto for Group and Orchestra, Harvest, SHVL 767, 1969. 76 Yngwie J Malmsteen, Concerto Suite for Electric Guitar and Orchestra, Japan: Pony Canyon, PCCL-00424, 1998. 77 Deep Purple, Burn, 1974. 78 Brad Tolinski and Alan Paul, ‘Tony Iommi and James Hetfield’. Guitar World, Vol. 15, No. 5, May 1995, pp. 65-69. 79 Ibid
31
and third fingers.80 A reason for this fingering can be traced to the accident that cut off
the ends of his fingers.81 In order to continue playing he utilizes thimbles82 to replace his
missing finger tips.83 He can often be seen relying on his first and fourth fingers for
power chord and lead solo playing.84 This accident also affects Iommi’s ability to bend
the string effectively, resorting to the use of the lighter gauge 008s to better facilitate this
action.85 Much of Iommi’s rift and lead guitar playing technique heavily revolves around
the pentatonic scale. His influence can be seen when examining power chord playing of
present day guitarists, many of whom use a similar first and fourth finger combination.
1.2.4 Summary
Deep Purple, Black Sabbath and Led Zeppelin are considered the pioneers of heavy metal
and rock, the musical style from where many of the technical innovators of the 1980s
were to develop. Band guitarists in conjunction with solo artists such as Hendrix and
Beck, are continually cited for there contribution to the 1980s’ ‘guitar revolution’ that
was to follow. Although there are many other guitarists from this era, the aforementioned
are arguably more influential from a technical perspective.
1.2.5 Technical innovators of the 1980s and 1990s
The vastly contrasting styles of Alan Holdworth and Al Di Meola have spanned a period
of time from the late 60s and early 70s respectively, to the present day. Although not
strictly fitting into the 80s and 90s timeframe, Holdworth and Meola have made valuable
contributions to the evolution of technique throughout. Both are widely acknowledged
80 Observed in Tony Iommi, Tony Iommi, New York: Star Licks Productions, 1984. 81 Tolinski and Paul, ‘Tony Iommi and James Hetfield’, pp. 65-69. 82 Ibid 83 Iommi, Tony Iommi, 1984. 84 Observed in Iommi, Tony Iommi, 1984. 85 Tolinski and Paul. ‘Tony Iommi and James Hetfield’, pp. 65-69.
32
jazz/fusion guitarists, with Meola's Spanish and Latin influences86 contrasting with
Holdsworth’s progressive compositions and improvisational work.87
Meola has long been recognized for his aggressive alternate-picking approach to
improvisation and electric guitar soloing.88 Developed in conjunction with this, is his
formidable dampening technique.89 This allows individual notes to attain maximum
impact whilst controlling the tone and amplitude of the string.90 Chordal picking and
chordal strumming are also two of his technical strong points, possibly developed by his
time in Chick Corea’s band, Return to Forever.91 Meola can be seen further developing
this style in his collaboration with flamenco master Paco De Lucia and Mahavishnu
Orchestra’s leader John McLaughlin.92 This collaboration produced critically acclaimed
performances and subsequent albums.93
Holdsworth on the other hand can arguably be described as less structured and more free-
flowing. His legato technique and economy of motion94 in conjunction with symmetrical
fingering patterns95 can make it extremely difficult to grasp the tonal center of many of
his guitar solos. This tonal ambiguity in conjunction with nontraditional chord voicings,
86 Heard in ‘Mediterranean Sundance’ and ‘Lady of Rome, Sister of Brazil’, Al Di Meola, Elegant Gypsy, CBS, Inc., CK 34461, 1977. 87 Wikipedia, ‘Allan Holdsworth’, http://en.wikipedia.org/wiki/Allan_Holdsworth; accessed on 29th May, 2007. 88 Al Di Meola, ‘Picking with Al Di Meola’. Guitar Player, Vol. 20, No. 2, February 1986, pp. 64-68. 89 Observed in Al Di Meola, Masters Series, Seattle, R.E.H. Publications Inc., 1991. 90 Ibid 91 Corea’s obvious Spanish influences heard in Chick Corea, My Spanish Heart, Polydor, PD-2-9003, 1976. 92 Tom Wheeler, ‘A Victory for the Acoustic Guitar’. Guitar Player, Vol. 15, No. 3, March 1981, pp. 70-82. 93 Al Di Meola, Friday Night in San Francisco, CBS, Inc., CK 37152, 1981. 94 Observed in Holdsworth, REH Instructional Video, 1992. 95 Ibid
33
volume swells and extremely light legato technique, make Holdsworth’s pioneering
approach instantly recognizable, influencing many guitarists throughout his long career.96
The 1980s was a key period in the development of the electric guitar. In early 1978, Van
Halen released their first self-titled album,97 containing the solo guitar piece ‘Eruption’.
This solo can be seen as instrumental in sparking the technical revolution of the 1980s. It
was also pivotal in terms of guitarist Eddie Van Halen’s career, gaining him recognition
as one of the foremost innovators in his field.98 Moreover, this solo is frequently cited by
experts99 as one of the most influential of all time.100
Eddie Van Halen’s double-handed approach used hammer-ons and pull-offs to create a
unique sound, one that was to be copied throughout the 1980s. His style of finger-
tapping enabled widespread triadic and 7th chord arpeggios, unreachable by one hand on
one string, to be played at speeds thought to be impossible using traditional techniques.
Application of this within pentatonic scales, modes and arpeggios, gave his solos an
original harmonic and melodic sound.
Other techniques that he was responsible for popularizing were harmonic tapping101 and
trem-picking.102 Irrespective of Van Halens’ use of trem-picking, he is not widely
recognized as a fast alternate picker. Trem-picking requires very little articulation and
96 One notable example being Garsed, Rock Fusion, Miami, 1995. 97 Van Halen, Van Halen, Warner Bros. Records, KBS-3075, 1978. 98 Garsed, Rock Fusion, 1995. 99 Wikipedia, ‘Eruption’, http://en.wikipedia.org/wiki/Eruption_(song); accessed 29th May, 2007. 100 In the top 100 guitar solos Guitar World poll has it coming in second. Guitar World, ‘100 Greatest Guitar Solos’, http://guitar.about.com/library/bl100greatest.htm; accessed 29th May, 2007. 101 The tapping out of notes a harmonic interval above the fretted note. Heard on the track ‘Spanish Fly’, Van Halen, Van Halen 2, Warner Bros. Records, HS-3312, 1979. 102 The picking of one note repetitively. A notable example of which is heard on the track ‘Eruption’, Van Halen, Van Halen, 1978.
34
synchronization between the hands and the individual picking strokes. Much of his style
is hammer-on and pull-off based, which develops out of blues and rock and roll,103
examples of which can be seen in such songs as ‘Ice-cream Man’ and ‘Eruption’.104 The
minor-third bends and modal three-notes-per-string scales combined with extreme vibrato
left many of his colleagues in awe of his natural abilities. Eddie Van Halen’s style was
fluent, innovative and extremely effective.105
Next to Van Halen, Yngwie Malmsteen can arguably be classified as one of the all-time
great electric guitar innovators. Influenced from an early age by Jimi Hendrix and Richie
Blackmore,106 Malmsteen quickly tired of guitar music, being drawn to the beauty of
Bach and the virtuosity of Paganini.107 This influence was to follow him the rest of his
life, manifesting itself in his compositions and tonality.108 Malmsteen became instantly
recognizable using techniques such as fast alternate-picking, sweep-picked arpeggios and
pedal point playing. His application of these techniques in conjunction with harmonic,
melodic and diminished scales,109 gave him a unique musical edge over many of his
contemporaries.
Renowned producer Mike Varney provided Malmsteen with his first musical opportunity
in the USA. 110 From that point on Malmsteen was responsible for introducing a more
103 Van Halen stated “When I stumbled into it I said, hey, this is what they’re doing in the blues. I said great, I know these notes, and I just kind of expanded from there.” Stix, ‘Life At The Top’, pp. 10-100. 104 Ibid 105 His tonality and timbre captured by the same man that captured Jimmy Pages sound and that of Led Zeppelin, Andy Johns. Brad Tolinski, ‘Lord of the Strings’. Guitar World, Vol. 12, No. 9, September 1991, pp. 72-106. 106 Obrecht, ‘Rising Force’, pp. 58-74. 107 Ibid 108 Heard in Yngwie J Malmsteen, Concerto Suite for Electric Guitar and Orchestra, 1998. 109 Jas Obrecht, ‘Yngwie Malmsteen’. Guitar Player, Vol. 26, No. 1, January 1992, pp. 76-77. 110 The same person responsible for discovering technique orientated guitarists such Paul Gilbert, Paul Gilbert, Terrifying Guitar Trip, Miami: Warner Bros. Publications Inc., 1995.
35
disciplined classical approach to the electric guitar fraternity. This is most notably
demonstrated on his first solo album111 which revealed him as a well-rounded musician.
Although he had already recorded previous albums with Steela and Alcatrazz, Rising
Force was his first solo project. On this album he played both electric bass and guitar,
recording the entire disc in less than a week with an imported drummer that he had not
played with previously.112 On the disc he demonstrates not only fast rhythmic riff and
solo playing, but also a total command of dynamics and string tone. Mostly instrumental
in content, the compositions are used as a vehicle for both improvisational expression and
technical elaboration.
The difficulty presented by using a scalloped finger-board, Floyd Rose tremolo,113 and
detuned guitar (down one semitone)114, makes the speed of his execution more
impressive.115 The influence that this disc had on the general guitar populace was
undeniable, being praised by guitarists such as Joe Satriani for his contribution to
popularizing scales and arpeggios.116
Largely precipitated by Yngwie Malmsteen, neo-classical electric guitar playing gained
popularity in the mid 1980s, further pushing compositional and technical boundaries.
From the plethora of technique-orientated guitarists that had arisen, a small number
emerged that distinguished themselves from the rest, one of whom was the classically
trained pianist Tony MacAlpine.
111 Yngwie J Malmsteen, Rising Force, Polydor, 825 324-2, 1984. 112 Obrecht, ‘Rising Force’, pp. 58-74. 113 Ibid 114 Heard thoughout the album Rising Force, Malmsteen, Rising Force, 1984. 115 “Use of a scalloped finger-board is much harder to play and stay in tune”, Obrecht, ‘Rising Force’, pp. 58-74. ; Yngwie J Malmsteen, Masters Series, Seattle: R.E.H. Publications Inc., 1991. 116 Obrecht, ‘Yngwie Malmsteen’ pp. 76-77.
36
Trained as a pianist from an early age, he quickly learned the value of combining
classical discipline with rock music.117 MacAlpine took up Malmsteen’s lead, combining
speed with unpredictable melodic twists, giving him an aggressive rock sound which
never detracted from his musicianship. His plectrum technique reached an advanced
state of development far beyond most normal players.118 This can be seen most notably
in his extensive use of cyclic rotations, a technique that MacAlpine often exploited during
solos. 119
MacAlpine was not the only guitar player to emerge from the post-Malmsteen period.
The Guitar Institute of Technology in Hollywood was reaching a high point, producing a
multitude of talented guitarists, one of the most notable being Paul Gilbert.
Gilbert proved his exceptional plectrum technique on his first instructional video whilst
the opening credits played.120 After graduating from GIT he became a lecturer and
columnist for Guitar Player in the early 1990s, producing a column named ‘Terrifying
Guitar 101’. It was at GIT that Gilbert met Bruce Bouillet and formed what is widely
renowned as one of the most impressive “guitar techniques” bands, Racer X.
Both Gilbert and Bouillet displayed impressive plectrum technique.121 Their
complementary styles excelled in the solo sections with Gilbert’s use of alternate-picking
and string-skipping and Bouillet’s equally impressive plectrum technique and sweep-
117 Chopin Etudes Heard on Tony MacAlpine, Edge of Insanity, 1985, Tony MacAlpine, Maximum Security, Squawk Inc., 832 249-2 Q-1, 1987. 118 Observed in Tony MacAlpine, Master Sessions, New York: Star Licks Productions, 1992. 119 Tony MacAlpine, Guitar Lessons, Cotati, California: Shrapnel Publications, 1990. 120 Gilbert, Intense Rock, 1988. 121 Heard in both ‘Bruce’s Solo’and ‘Paul’s Solo’ on Racer X, Live Extreme Volume, 1988.
37
picked arpeggios. Many of their songs feature dual harmonized leads122 in addition to
trade off guitar solos and harmonized riffs in the tradition of Iron Maiden’s ‘The
Trooper’123 and Thin Lizzy’s ‘Don’t Believe a Word’.124
The fast harmonized single-note guitar melodies that Bouillet and Gilbert perform as a
duo are precise and uniform, even down to the amount of dampening, vibrato and pinch
harmonics used. A notable example of this is the instrumental ‘Scarified’125 which
exemplifies synchronized guitar harmonies. The track uses alternate-picking, sequenced
arpeggios, sweep-picking, finger-tapping and string-skipping, executed with strict
attention to detail, clarity and string tone. Moreover, they show Gilbert’s mastery of
dynamics and dampening when using distortion.
Following in Al Di Meola traditions of the Berkeley alumnus,126 Steve Vai began his
musical career working as a guitar transcriber for Frank Zappa.127 His excellent ear and
technical ability helped Vai to fit into a number of diverse musical situations, from Frank
Zappa's band and White Snake,128 to his replacement of Malmsteen in Alcatrazz.129
His first solo album130 revealed an exciting potential, providing insight into his early
musical education received from former teacher Joe Satriani.131 His use of pinch
122 Heard in ‘Sunlit Nights’, Racer X, Live Extreme Volume 2, Shrapnel Records, Inc., SH-1059-2, 1992. 123 Iron Maiden, Peace of Mind, EMI, 4969190, 1983. 124 Thin Lizzy, Johnny the Fox, Mercury, SRM 1119, 1976. 125 Racer X, Second Heat, 1988. 126 Jas Obrecht, ‘Steve Vai’. Guitar Player, Vol. 20, No. 10, October 1986, pp. 74-154. 127 Tom Mulhern, ‘Steve Vai’. Guitar Player, Vol. 17, No. 2, February 1983, pp. 80-124. ; Obrecht, ‘Steve Vai’, pp. 74-154. 128 Steve Vai replaced Adrian Vandenberg after he injured his hand for the Slip of the Tongue album. Whitesnake, Slip of the Tongue, EMI, SKU: 24249, 1996. 129 Obrecht, ‘Rising Force’, pp. 58-74. 130 Vai, Steve. Flex-able, Akashic Records, UR777-2, 1984. 131 Satriani, The Satch Tapes, 1992.
38
harmonics and exploitation of string harmonics combined with whammy bar phrasing,132
gives Vai’s guitar playing an instantly recognizable sound.
Vai’s melodic phrases are continually punctuated by expressive and arguably excessive
use of note colourings.133 These are further accentuated by his use of the guitar’s bridge
pickup. However, his contribution to the electric guitar is not limited to technique. He
was instrumental in the design and popularization of the seven-string guitar, the Ibanez
Universe. Vai’s use of the Universe on albums such as Passion and Warfare134 makes his
contribution to the electric guitar above and beyond technical innovation.
Although very different from Steve Vai, Frank Gambale is recognized for his role in
developing the sweep-picking technique.135 His minimalist approach to picking
economizes the plectrum motion, reducing it substantially for both scales and
arpeggios.136 Moreover, this method reduces the amount of picking patterns that are
required in learning scales and arpeggios.137
The electric guitar’s tuning makes playing arpeggios with alternate-picking considerably
inefficient. This is due to continual movement to the adjacent string with opposite stroke
motion.138 Sweep-picking utilizes multiple strokes in the same direction similar to a rest
stroke,139 which effectively increases the notes speed and fluidity. Revolutionary in its
132 Heard in ‘Painted Lover’, Alcatrazz, Disturbing the Peace, Capitol Records, ST-12385, 1985. 133 Obrecht, ‘Steve Vai’, pp. 74-154. 134 Steve Vai, Passion and Warfare, Relativity Records, Inc., 88561-1037-2, 1990. 135 Frank Gambale, Monster Licks and Speed Picking, New York: D.I.C. Publication, 1988. 136 Gambale, Monster Licks and Speed Picking, 1988. 137 Ibid 138 Gilbert, Guitar Techniques, 2006. 139 Gambale, Monster Licks and Speed Picking, 1988.
39
approach, sweep-picking was adopted by many guitarists in the 1980s and through to the
present day.
Following in the footsteps of Eddie Van Halen and his two-handed approach, Stanley
Jordan took the double-handed concept to an extreme, treating the guitar with an almost
pianistic technique.140 Jordan’s touch technique141 is an advanced form of finger-tapping
that facilitates the ability to perform true polyphony on the electric guitar. In order to
achieve this, both hands function autonomously, similar to the way that they do on a
piano.142 This approach was so effective that there is a note on the first album, produced
by Al Di Meola, stating that there are no overdubs.143 Jordan’s skill in controlling and
balancing dynamic variations is best seen in Bach’s two-part invention, balancing
harmony, melody and dynamic between the two hands.144
1.2.6 Summary
The 1980s and 1990s were a definitive time period for electric guitar development and
more specifically the development technique. Many players from this period in time
continue to perform and record to the present day. Consequently, their influence on the
continued technical development process is ongoing.
1.2.7 Historical/technical summary
The history of electric guitar and its innovative figures and influences provides the
modern guitarist with a broad technical pallet on which to build. Moreover, having a
140 Jim Ferguson, ‘Stanley Jordan’. Guitar Player, Vol. 19, No. 10, October 1985, pp. 82-149. 141 Stanley Jordan, Master Sessions, New York: Star Licks Productions, 1993. 142 Ibid 143 Stanley Jordan, Magic Touch, Manhattan Records, CDP 7 46092 2, 1985. 144 Observed in Jordan, Master Sessions, 1993.
40
clear understanding of individual technical innovations, their evolution and practical
application, is vital when adapting and applying techniques to other musical genres.
Recognizing the drawbacks of literature, visual media and recorded music, in the
development of technique, can minimize its inadequate application. For this reason a
broadly balanced investigation of these three types of development literature is
necessary.145 Using visual media to observe technique, literature and transcription to
accurately gauge note choice, and a discography to discern practical application, are all of
vital importance.
Although many other players influenced the guitar fraternity, the aforementioned have
arguably made the greatest technical contribution. Exposure in the literature can be
viewed as a significant reason for why those guitarists have made such an impact on
technique, when arguably there are many more technically proficient guitarists such as
Steve Morse, Rusty Cooley, Vinnie Moore, Michael Angelo, Michael Romeo, Jason
Becker and John Petrucci all of which are prominent guitarists in their own right.
Periodicals need to achieve maximum distribution, which can best occur when popular
guitarists are featured, as opposed to the most technically proficient.
Utilizing the available literature to further push the boundaries of technique, ensure that
continued development will occur. Technical innovations and contributions to the
electric guitar can be applied to the Caprices, provided a good working knowledge of
their history and development has been undertaken first.
145 A technique used by Malmsteen in his development stage. Obrecht, ‘Rising Force’, pp. 58-74.
41
1.3 Recording review
1.3.1 Introduction
In addition to the information on advanced electric guitar technique, its development and
use within the transcriptions, it is also important to be familiar with a range of recorded
interpretations of the Caprices. These interpretations provide valuable performance
insight when approaching the transcription process, which in itself can create limited
musical options. Having a familiarization with different recorded performances can
influence transposition choices, creating a more informed musical and technical outcome.
There have been a number of notable performances of the Paganini Caprices, over the
years on violin, viola, cello and guitar. Ruggiero Ricci, the first violinist to do a complete
recording of the Caprices,146 spent a good portion of his career building a reputation
playing Paganini’s works.
Of the original violin version there have been some outstanding recordings. One of the
more prominent performances is given by the virtuoso Itzhak Perlman in 1972.147
Throughout the recording, Perlman proves he is in a class of his own as he presents his
trademarked mix of technical control and artistic expression. For example, notes are
evenly articulated during the series of runs in ‘Caprice No. 5’ in A minor, in addition to
producing the difficult ricochet bowing in ‘Caprice No.1’.148 However as brilliant as
146 Wikipedia, ‘Ruggiero Ricci’, http://en.wikipedia.org/wiki/Ruggiero_Ricci; accessed 3rd June 2007. ; Ricci, Ruggiero. 24 Caprices, Op 1, Turnabout, TV-S 34528, 1973. 147 Wikipedia, ‘James Ehnes’, http://en.wikipedia.org/wiki/James_Ehnes; accessed 3rd June 2007. 148 Itzhak Perlman, 24 Caprices, EMI Great Recordings of the Century, CDM67257, 2000.
42
these recordings were, James Ehnes’ recordings of the Caprices149 were internationally
acclaimed as the first that could rival those produced by Perlman.150
The Japanese virtuoso Midori, at the age of seven, performed her first Paganini Caprice,
and at age 19 recorded them in there entirety.151 The comparison of Midori’s recording
of the Paganini Caprices to several other recordings reveals that it has a “live” sound
quality to it. Midori performs with a sparkling tone, impeccable intonation and a
technical maturity unique to her age. One of her most outstanding techniques is her
mastery of left hand pizzicato.152
Midori, Ehnes and Perlman epitomize the technical wizardry in combination with musical
maturity that is needed in order to perform the Caprices with success. Other violinists
such as Stephane Grappeli and Yehudi Menuhin and even the popular music violinist,
Vanessa Mae, have made recordings of ‘Caprice No. 24’.
Transposing the Caprices to different instruments has occurred with varying degrees of
success, Yo Yo Ma’s performance of a number of the Caprices on the cello being a prime
example.153 He performs ‘Caprice No. 9, 13, 14, 17 and 24’ with both command and
feeling. Nevertheless, although his mastery of the cello is beyond question, intonation on
the ‘Caprice No. 24’ in the octave sections can be arguably described as “awkward”. In
contrast his versions of ‘Caprice No. 13’ for solo cello and ‘Caprice No. 14’ with piano
accompaniment are extremely well performed. Transposing music so physically
149 James Ehnes, 24 Caprices, Telarc, 80398, 2003. 150 Wikipedia, ‘James Ehnes’, http://en.wikipedia.org/wiki/James_Ehnes; accessed 3rd June 2007. 151 Midori Goto, 24 Caprices, Sony, 92764, 2005. 152 Heard in ‘Caprice 24’, Goto, 24 Caprices, 2005. 153 Yo Yo Ma, Kreisler, Paganini, CBS Masterworks, 37280, 1990.
43
demanding can often create problems of this nature due to the constraints of traditional
technique.
One of the distinguished guitar performances is by the virtuoso Elliot Fisk.154 His
landmark release of the entire set of the Caprices performed and arranged by himself for
guitar, immediately entered the Billboard charts and elicited acclaim from colleagues and
critics the world over.
In addition to Fisk, there have been a number of players that have created different
versions of the Caprices in varying forms. The ‘Caprice No. 24’ is regularly targeted by
many guitar players including the eminent John Williams.
In the target field of electric guitar transcriptions, there are very few recordings of
Caprices that are notable. Kevin Ferguson in the USA released an album Strad to Strat
1995,155 on which he performs Paganini’s ‘Caprice No.5’ and Violin Concerto No.1 in D
major. The Great Kat did a band version of the ‘Caprice No. 24’ in 1985.156 However,
the performance omits many of the variations and is very poorly played in terms of left
and right hand synchronization and string tone.
Steve Vai and Jason Becker also have performed versions of Paganini’s ‘Caprice No. 5’.
Becker’s rendition includes alternate-picking and sweep-picking,157 whilst Vai’s provides
the basis rather than a complete rendition for the guitar dual in the movie Cross Roads.
154 Elliot Fisk, 24 Caprices, MusicMasters, 67092-2, 1992. 155 Kevin Ferguson, Strad to Strat, DeBone Music, CLCS795, 1995. 156 The Great Kat, Beethoven on Speed, Road Runner Records, RRD9373, 1990. 157 Jason Becker, The Legendary Guitar of Jason Becker, New York: Hot Licks Productions Inc., 2007.
44
John Tapella released a performance of the ‘Caprice No. 24’ played in its entirety with an
accompanying transcription,158 along with another Paganini work, Perpetual Motion
(Moto Perpetuo). Although executing the notes correctly the control of the general tone
of the strings was less than pristine. In 2005 Tapella also released an album159 that
featured ‘Caprice No. 16’ and ‘Caprice No. 5’, both suffer from certain tone deficiencies
and fingering problems that affect note duration, common place in electric guitar playing.
Possibly the most notable electric guitar performance of Paganini is the Concerto in B
minor, with band and orchestra, arranged by Michael Romeo (Symphony X) from his
solo album The Dark Chapter 1994.160 The performance demonstrates an excellent grasp
of electric guitar technique, whammy bar use and string bends, combined with the
essence of Paganini’s music and modern orchestration.
This researcher has released the album Light before the Dawn which includes Paganini’s
‘Caprice No. 16’ for solo electric guitar.161 This features techniques such as sweep-
picking, string-skipping and alternate-picking in conjunction with dampening and
distortion.
1.3.2 Recording summary
There are some notable performances on the acoustic guitar, violin and cello.
Transcriptions by Elliot Fisk and John Williams have been recorded, making them easier
to play on guitar and although they are excellent performances, they struggle to retain
many of the violinistic melody characteristics. The Yo Yo Ma cello transcriptions are
158 John Tapella, Paganini Caprice #24 Perpetual Motion for Electric Guitar, Guitarempire.com, 2002. 159 John Tapella, John Tapella’s Classical Electric Guitar, Tapella, 634479164989, 2005. 160 Michael Romeo, The Dark Chapter, InsideOut Music, HEL842, 1994. 161 Altitude, Light Before the Dawn, Karma Record Group, 2707101022, 2003.
45
more successful in that sense, as would be expected due to the similarities between the
violin and cello.
There are very few transcriptions of any of the Caprices to the electric guitars. Those
that have occurred have struggled with technical issues, often being forced to transpose
sections or emit parts. This is one of the issues that a full transcription of the Caprices
will address, whilst advancing both the technical development and improving the overall
accessibility of them for the electric guitarist.
1.4 Chapter Summary
Drawing on the aforementioned media allows insightful and informed decisions to be
made at the transcription stage, whilst avoiding any inherent dangers. When using media
such as DVDs, transcriptions, discographies and guitar periodicals, it is possible to gain
insight into both electric guitar technique and its practical application.
An awareness of the historical aspects of the electric guitar and technical evolution is also
necessary. Placing the electric guitar in its modern and historical context allows insight
into the evolution and development of technique from its embryonic stage to the present
day. This perspective also reveals pivotal technical periods in history and illustrates why
these periods are of profound importance. Additionally, this perspective also reveals key
figures and their contribution to technique and electric guitar playing in general.
Recorded versions of the Caprices are extremely useful from a musical perspective. The
utilization of this media helps temper the technical decision-making process. The overall
46
result is a more musical interpretation of the works than would be possible if technique
alone dictated the transcription choices.
Recordings can also reveal the technical problem areas of individual performers or their
performances. Analyzing these problem areas allows transcription decision-making to be
amended so as to avoid these shortcomings.
Chapter Two: Electric guitar set-up
2.1 Introduction
Before specific adjustments can be discussed it is important to define aspects of guitar
hardware and associated terminology.
Ibanez Jem77BRMR
47
Tuning Keys
Headstock
Neck
PickupsBody
Bridge
Royal angel headstock
Tuning keys (mheads
Tuning post achine
)
String tree
Nut
The Royal angel
Volume and tone pots
Pickup selection switch Coil splitting switch
Jack input
48
Royal angel finger-board
49
One of the factors indirectly responsible for the degree of success when performing the
Caprices on the electric guitar is the hardware set-up. Although subjective to both
individual preference and musical genre, it is noteworthy that certain set-up
commonalities exist amongst the guitarists with advanced technique. A good example of
this is the commonly used combination of rigid plectrum and light gauge strings. This
allows the strings to flex, facilitating a plectrum string striking motion that passes more
easily over the strings.
The generalized trends that have evolved have done so to facilitate minimal effort when
performing music that requires advanced technique.162 Although each individual
technique requires slightly different set-up parameters, many have a commonality that
allows a less specific set-up to accommodate most conceivable technical scenarios.
2.2 Hardware
2.2.1 The relationship between action and floating bridge
The degree to which an electric guitar plays in tune is dictated by two factors: the length
of the string and the position of the frets. Due to string intonation issues and its influence
on tuning, most bridge plates have a certain degree of latitude for string saddle 162 Paul Gilbert, Get Out of My Yard, USA, Alfred Publishing, 2007.
Frets Finger-board
adjustment. Whether it is a two screw Fender saddle163 or a single bolt Floyd Rose
saddle, the majority of bridge set-ups utilize an Allen key adjustment.164 The picture
below illustrates the classic Floyd Rose bridge.
Floyd Rose floating bridge
50
New strings and a tuner are required in order to set the intonation on the electric guitar.
By tuning the string and playing the natural harmonic on the 12th fret it can be determined
whether the string needs be either lengthened or shortened.165 If the note on the 12th fret
is precisely an octave higher than the open sting it is the correct length.166 However, if
the note is sharp, the string must be lengthened by adjusting the bridge saddle in the
opposite direction of the headstock (the opposite would apply if the note was flat).167 As
the strings become older, they lose the ability to stay in tune and contribute to intonation
163 Tom Kolb, Playing in the Style of the Fender Stratocaster Greats, Henderson, NV: Star Licks Productions, 2005. 164 Ibid 165 Ibid 166 Ibid 167 Ibid
Bridge plate Whammy bar
Intonation screws Bridge saddles
String blocks
Tension screws Fine adjust
problems. Additionally, the E, B and G strings can often lose their ability to stay in tune
quicker than the other strings, due to their lesser string tension.168
Low action169 both maximizes technical efficiency whilst minimizing physical effort.
Where speed is paramount, reducing the distance between the string and the fret reduces
not only the amount of effort required to fret a note, but also the response time between
notes. Therefore, by either tightening or loosening the pivot posts the floating bridge can
be adjusted to raise or lower the action, allowing the optimum position to be attained for
the aforementioned factors.
In general, electric guitar fingerboards are convex in shape to prevent “string buzz”
when fretting notes.
String buzz point
Frets Neck Nut
However, with the majority of bridge plates being flat, many brands of saddles are
equipped with screws and/or Allen keys in order to be adjusted to accommodate the
curvature of the neck.
Setting saddle height and bridge adjustment is a simple method in which the elevation of
the strings on the peripheral edges of the guitar neck (in most cases the first and sixth
51
168 D’Addario, ‘String Tension 101’, http://www.tothestage.com/upload/StringTension_1949.pdf; accessed 17th Decemeber 2007. 169 Action refers to the distance between string and fret.
string) are lowered to their optimum height with the bridge adjustment. The remaining
individual saddles can then be adjusted relative to this position. The optimum height can
be defined as the lowest position to which the string can be adjusted without creating
extraneous fret noise or buzz. This is in essence where the nodes and anti-nodes of
vibration are not altered by any fret other than the one being depressed.
node node
anti-node anti-node
52
String at equilibrium
String vibrating
Whether or not to have the electric guitar action set as low as possible can be influenced
by a number of factors. For example, the technique of finger-tapping is most effective
when the action is extremely low, whilst alternate-picking requires a higher action due to
its increased string displacement. Therefore, if these techniques appear in conjunction
with each other, an equilibrium point between the two actions must be used. Although it
is impractical to have a dissimilar action set-up for each technical scenario, individuals
often set the action dependent on their most used technique or playing style. This means
the less frequently used techniques have to adapt to a guitar set-up that is not necessarily
ideal, an example being players such as Tony MacAlpine, Vinnie Moore and Yngwie
Malmsteen use guitars with lower action due to their technical needs. In contrast, blues
slide players such as Muddy Waters, Johnny Winter and Duane Allman require guitars
with higher action to facilitate the unimpaired use of the slide.
For all intents and purposes, the bridge can be divided into two different types; fixed and
floating.170 The most fundamental is the fixed bridge, which is often screwed or glued to
the body of the guitar. Illustrated below are two of the more common fixed bridges used
on the electric guitar.
Hipshot Fixed Guitar Bridge
Gotoh Tunematic
The advantage of a fixed bridge is that, if set up correctly, it can retain its tuning more
easily than the floating bridge, due to the absence of the spring mounting counter balance
system. However, it lacks the ability to alter the pitch via means of a whammy bar or
tremolo bar.
Although the floating bridge is a more complex set-up, it provides a greater variety of
pitch-bending options.171 However, one of its main disadvantages is that it is more prone
to going out of tune if not set up correctly.172 This can, to a certain extent, be avoided
through the use of a locking nut, which locks the strings in place when using the
whammy bar.
It helps to maintain tuning by avoiding a common reason for floating bridge guitars
dropping out of tune. When the whammy bar is used, the string naturally loosens on the
170 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005. 171 Ibid
53172 Ibid
tuning post.173 The strings failure to return to their original position on the post is often
the reason why this type of set-up goes out of tune.174 The locking nut holds the strings
in place, retaining the same pressure on the tuning post at all times, irrespective of the
extent to which the whammy bar is used.
Locking nut
The floating bridge uses a counter balance system in which springs on the back of the
guitar off-set the tension of the strings.175
Floating bridge counter balance
Spring Claw
Sustain block
54
173 Wolf Marshall, Yngwie Malmsteen’s Style, Seattle: R.E.H. Publications Inc., 1986. 174 Ibid 175 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005.
Tremolo springs
Claw screws
The representation below illustrates the basic principles of the floating bridge and its
tension off-sets.
Bridge plate
Pivot post Strings
Claw screws Frets Guitar neck Locking nut
Tremolo springs Spring Claw
Guitar body
The diagram shows that in order for the guitar to stay in tune when the whammy bar is
used, spring pressure needs to be equal to string tension.176 This fine balance is achieved
through the adjustment of the claw screws.177 Therefore, putting pressure on the
whammy bar and releasing it indicates which way the screws need to be adjusted; notes
going flat after whammy bar use indicate the need to increase screw tension, whilst sharp
notes require the opposite.
The amount of tension that the strings exert on the tremolo springs is dependent on their
gauge; the heavier the gauge the more tension is exerted. Therefore, changing string
gauges when using a floating bridge often requires a tremolo spring readjustment. The
age of strings can also affect the ability of the floating bridge to retain its tuning. Regular
changes help avoid the usual loss of both string intonation and elasticity often associated
with tuning issues.
55
176 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005. 177 Ibid
2.2.2 Electric guitar pickups
An integral part of the process of translating technique to aurally perceived sound is the
guitar pickup. Having a basic understanding of pickup function and how string vibration
is translated into sound and their setup can help exploit the different tones that can be
generated by the electric guitar.
Choosing a substandard pickup, or one ill-equipped to handle the demands of a specific
technique or genre of music, can result in inadequate sound quality. Familiarization with
the tones that different pickups can create comes with experience. By analyzing pickup
configurations, tone diagrams and how players in a chosen field sound, a familiarity with
string tone in a practical playing scenario can be gained. Within the genre of neoclassical
electric guitar performance, there are three major brands of pickups most commonly
used, Dimarzio, Seymour Duncan and EMG.
Pickups have been produced in many shapes and sizes from the single coil fender
Stratocaster style pickup to the multi-coil humbucker.
Single coil pickup
Humbucker pickup
56
57
gs on
all
The majority of pickups work in the same basic manner, utilizing a coil of wire around a
magnet(s). These two components create a magnetic field through a stationary coil,
which in turn induces an electronic signal sent to the preamp and power-amp to be
transmuted into audible sound.
Many aspects of pickup construction can be manipulated in order to generate different
string tone characteristics. For example, the magnet composition can vary from
Alnico178 to Ceramic179 (these are the most commonly used elements), with windin
the bobbin,180 as well as the amount of insulation all contributing to the pickups over
sound. 181
The pickup’s output is directly proportional to the number of copper windings around the
bobbin. A pickup’s output is measured in DC resistance, kilo ohms (kΩ). A general
guide to the relationship between kΩ and pickup sound is as follows: from 3 to 6kΩ a
very clean sound is produced, 6 to 9kΩ produces a slightly “edgy” sound and 9 to 14kΩ
produces a more distorted “dirty” sound. For guitarists who require heavily overdriven
sound, pickups are manufactured such as the X2N by Dimarzio which exceeds 25 kΩ
resistance.
178 Alnico is an alloy of aluminum, nickel, and cobalt used in Fender Guitars, Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005. 179 Ceramic gives a brighter tone and is cheaper to make whereas Alnico is more expensive but gives a warmer tone and is the preferred medium. 180 The bobbin is the piece that the poles sit in and the copper wire is wrapped around. 181 The insulation is usually paraffin wax and it helps to prevent microphonic feedback.
X2N pickup
The obvious limitation of utilizing such powerful pickups is the inability to produced
extremely clean sounds. To this end, some guitarists who use humbuckers choose to coil
tap182 their pickups, cutting kΩ resistance in half to allow a cleaner tone when required.
A pickup’s frequency response is tailored to enhance the specific tone characteristics of
the string’s vibration, which occur on different parts of the string. For example, the string
vibrates more loudly and creates more bass frequencies in the neck position than in the
bridge position. Consequently, the neck pickups are designed to cope more readily with
those frequencies.
Adjusting the pickup to its optimum height under the strings can affect the pickups tone
quality and the frequency response.183 The adjustment screws are spring-loaded, often
being located on the outer edge of the pickup surround. If the distance between the
strings and the pickup poles184 is too great, the magnetic field will be of inadequate
strength. This will limit the pickup’s ability to discern certain string nuances. However,
if the pickup is too close to a string, the magnetic pull that it creates can alter the string’s
natural vibration. Close pickup positioning can also create a problem with the string(s)
182 Coil tapping or splitting the coil refers to switching between humbucking and single coil on the same pickup. 183 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005.
58
184 The part of the pickup directly located under the string and can be Allen key bolts ( as in the case of the PAF Pro). In the case of the PAF Pro the pickup construction allows the guitarist to adjust the individual poles with minimal effort.
hitting the actual pickup poles. By altering the height whilst the guitar is plugged into the
amplifier, one can aurally discern the “zone” in which the pickup is working at optimum
efficiency.
2.2.3 Truss rod
A truss rod runs between the headstock and the guitar body end of the neck. The
adjustments can be located at either end of the guitar neck and often require an Allen key
for alteration. Most guitars off the production line require a certain degree of truss rod
adjustment, depending on the intended musical genre. Traditionally, the truss rod is an
engineering apparatus, tensioning only one way. On the electric guitar for the most part
this is also true, with the truss rod relying on the string tension to pull with an opposing
force. If the guitar neck is bowed towards the strings then the truss rod is too tight and
can result in string buzz or in extreme cases the fingerboard separating from the neck. In
these cases, loosening the truss rod can take advantage of the natural pull of the strings,
which straightens the guitar neck.
Strings Guitar neck
Truss rod
Above is a graphic representation of how the truss bends when overly tight and requires
loosening and below demonstrates when the truss rod needs tightening.
Strings Guitar neck
59
Truss rod
60
In the latter, note duration is affected by the increased distance between the neck and the
strings; more prevalent in the middle of the neck where the distance is greatest.
2.2.4 The nut
The nut refers to the grooved piece of material at the top of the fingerboard. This can be
divided into two different types; the locking nut, often used in conjunction with a floating
bridge, and a normal nut. A normal non-locking nut can be constructed of many
materials, most commonly plastic and bone. There are also nuts that compensate for
tuning issues that arise with open chords such as the Earvana.185
In order to improve tuning stability a number of options can be used. These include
widening the grooves in the nut and lubricating them,186 which helps the strings slide
through the nut more freely.187 This can be done in conjunction with reducing the
number of string windings on the tuning posts,188 which maximizes the chance of the
string returning to its original position.
Setting the nut at its correct height is also of extreme importance. Too low and string
buzz becomes a problem and too high can create difficultly when depressing the strings
on the lower frets. Raising its height requires the placement of a spacer below the nut.
Lowering it however, requires either the underside of the nut to be filed, or the wood
immediate below the nut to be chiseled out. The latter requires in-depth knowledge of
the relationship between string pressure and headstock thickness, to avoid adversely
affecting headstock strength.
185 Stephen Delft, ‘The Compensated Nut’, http://www.mimf.com/nutcomp/; accessed 18th February 2008. 186 Marshall, Yngwie Malmsteen’s Style, 1986. 187 Ibid 188 Ibid
61
2.2.5 General trends of plectrum width and string gauge
Which is the correct combination of plectrum thickness and string gauge? Although this
question is subjective in nature, observations of electric guitar players within the
neoclassical genre suggest a combination of light-gauge strings and thicker plectrum. A
possible reason for this trend resides within the field of tone generation. When the
plectrum strikes the string, overall control of tone, and the wave envelope, is easier when
only one surface flexes, in this case the string. A rigid grip on the plectrum is needed to
ensure that the angle of the plectrum remains constant relative to the string,189 a trend that
can be seen in the style of many guitarists. Moreover, this issue has pushed many players
to experiment with different types of material and plectrum thickness from using small
rigid jazz picks to metal picks constructed of copper. Some plectrum manufacturers such
as Segovia have constructed a triangle pick in an attempt to combat the need to
continually change picks for different performance situations.
2.2.6 Distortion
Where appropriate, the use of distortion can add note colourings that are otherwise harder
to obtain using little or no overdrive. In this case, distortion190 refers to the overdriving
of the preamp signal, which results in the removal of the wave peaks.
189 Gilbert, Get Out of my Yard, 2007. 190 Blackstone, ‘Distortion 101’, http://www.mindspring.com/~j.blackstone/dist101.htm; accessed on June 19th 2007.
Clipped peak distortion wave
With distortion functioning as a natural method of compression, its use has many
practical applications. These can vary from smoothening out long legato passages, to
sustaining single notes for extended periods.
2.2.7 Amplification and distortion
Just as the pickups are an integral part in relaying the nuances of string tone, the
importance of the amplification lies in its transmutation of that electronic signal into
aurally perceivable sound. The umbrella term of amplification can be reduced into two
signal processing stages; the preamp and power-amp stages. The general trend to gain a
desirable “smooth” sounding distortion, has been to use valves in both the preamp and
power-amp stages. However, as technology has evolved, hybrid191 amps, such as the
Marshall mode 4, have in recent years also become popular, using a combination of
valves and solid-state circuitry.
Both the preamp and the power-amp can be obtained separately in rack form or in an all-
in-one unit. The illustrations below show both a Marshall preamp and power-amp in
separate units and a Peavey 6505 with the preamp and power-amp in the same module.192
191 The word hybrid in relation to amplifiers refers to a combination of valve and solid state technology. Marshall, http://www.marshallamps.com/product_range.asp?productRangeId=1; accessed on June 19th 2007.
62
192 Heads refers to the amplification unit that sits on top of the speaker box. As opposed to the “combo” which is power-amp, preamp, and speaker(s) in one unit.
Marshall JMP1 preamp
Marshall 100/100 mono block power amp
Peavey 6505 plus head
The advantage of having separate preamps and power-amp units is the ability to combine
different units with specific tone characteristics, regardless of brand. This flexibility
allows the guitarist to more easily customize his\her sound than having both preamp and
power-amp in the same unit. This trend helped shape guitar sound in the 1980s and early
1990s, when rack-mounted units reached the apex of their popularity. From the mid-
1990s the popularity of rack mounted units waned in favor of the new technologically
advanced all-in-one units, many of which feature advanced digital effects and amp
modeling with integrated amplifier emulation (to interface with a DAW193 for recording),
allowing the guitarist multiple combinations through an integrated internet interface.
These amps allow the user to faithfully recreate the tone of anything from the classic Vox
AC30 and Marshall JCM 800 master volume, to a Peavey 5150, by simply turning a dial.
The obvious versatility of these units has made them both popular and practical in
63193 DAW is the abbreviation for digital audio workstation.
multiple playing situations from the studio to live performance. One of the leaders in the
field is Line 6; the picture below shows one of the new line 6 spider combos.
Line 6 spider
2.2.8 Inadequate equipment
In order to satisfactorily achieve technical progress, many hours must be invested in
regular practice with the correct attitude.194 The negative psychological effects on
technical progress created by inadequate equipment can be significant. For example, the
development of technique and its aural tonal realization inspires most guitarists to pursue
improvement through rigorous hours of practice. However, if the equipment is incapable
of producing the necessary sound quality, a guitarist will not only waste valuable time
attempting to achieve the impossible but will also become frustrated with the results.
2.3 Chapter Summary
The choice of appropriate equipment and its set-up has a direct bearing on the degree of
technical improvement that can be achieved. Inadequate equipment or inappropriate
hardware setup can result in little or no technical progress.
194 Steve Bailey, Fretless Bass, Miami: CPP Media Group, 1994.
64
65
The guitar set-up is influenced by many factors such as musical genre, technique and
individual physical limitations i.e. finger size and stretch. In order to optimize technical
improvement, a working knowledge of the electric guitar’s hardware and how to make
customizable adjustments, is essential.
66
de.198
Chapter Three: Factors common to most styles of guitar
playing
3.1 Introduction
In order to fully realize the scope of potential technical development, it is necessary to
discuss broader aspects prior to narrowing the focus to the Caprices. These technical
fundamentals are required by guitarists irrespective of musical genre. They cover
everything from dampening and correct note fretting, to pickup selection and finger-
board mobility.
3.2 Fundamentals
3.2.1 Left hand economy of motion
When using either the fingers or plectrum to generate string vibration, the fingers on the
left hand should move a minimal distance from the strings.195 Economizing the motion
in this fashion helps to facilitate speed whilst minimizing effort.196 The correct distance
can be defined as just enough to not hinder the natural string vibration,197 with hammer-
ons and pull-offs being an exception to this rule. This distance can vary slightly,
dependent on the strings vibrational displacement and its maximum amplitu
195 Juan Martin, El Arte Flamenco De La Guitarra. London: United Music Publishers Ltd, 1978. p. 23. 196 Ibid 197 Ibid 198 Quine, Hector. Guitar Technique. New York: Oxford University Press, 1990, p. 50.
67
3.2.2 Finger positioning and action
Within both the major and the natural minor keys, it can be useful to adopt the one-
finger-per-fret convention.199 This allows many musical scenarios to be covered with a
broad finger placement philosophy. The finger position that is generally used is
fingertips vertical200 with fingers 90 degrees to the finger-board.201 This requires
minimal pressure from the wrist.202
However, when utilizing three-note-per-string scales or modal tonality, consecutive
whole-tones arise. This means that at least one finger is required to span two frets,
creating a finger combination of either ‘one two and four’203 or, less commonly, ‘one
three and four’.204 These fingerings provide a solid foundation for playing diatonic
harmony and unaltered scales. Additionally, the incorporation and development of larger
stretches, position shifts and/or slides can also utilize the one-finger-per-fret idea as a
fundamental starting point.205
The diagram illustrates a C major/A minor pattern throughout 12 frets of the finger-
board. Whenever three-note-per-string diatonic scales are employed, there are never
more than two whole-tones (two fret spacing) between notes. The impact this has on the
arrangement of fingerings for tonal music can be far reaching for the chord and scalic
melody of the Caprices.
199 Martin, El Arte Flamenco De La Guitarra, p. 23. 200 Martin, El Arte Flamenco De La Guitarra, p. 22. ; Quine, Guitar Technique. p. 44. 201 Quine, Guitar Technique. p. 45. 202 Martin, El Arte Flamenco De La Guitarra, p. 22. 203 Observed in Yngwie J Malmsteen, Play Loud! The First Movement, The Basics, Japan: YG Factory Inc., 1995. 204 Gilbert, Guitar Techniques, 2006. 205 Observed in John Petrucci, Rock Discipline, Miami: Warner Bros. Publications Inc., 1995.
Diatonic C major/A Minor pattern
Practical applications of these fingering principles, within the context of the Caprices, are
discussed in depth within the technique specific chapters.
Irrespective of finger choice the fingers should retain a relaxed curvature with the
removal and repositioning done though a single movement of the knuckle joint (first
phalanx).206 A consistent curvature ensures that the string is always struck with the same
angle and part of the finger promoting both efficiency and consistency.207
3.2.3 Plectrum technique
When striking the string with the plectrum, the continuity of tone between notes is best
created through consistent pressure, grip and angle of the plectrum. Related to this is the
fundamental concern of how to grip the plectrum, commonly done between the thumb
and the first finger.208
68
The ability to control the general tone of the string is dependent on a combination of four
factors, note fretting, palm dampening,209 finger muting,210 and plectrum angle. These
factors can be divided into two subgroups, note fretting and correct plectrum angle being
206 Quine, Guitar Technique, p. 49. 207 Ibid 208 Obrecht, ‘Rising Force’, pp. 58-74. 209 Gilbert, Intense Rock 2, 1991. 210 Gambale, Monster Licks and Speed Picking, 1988.
69
the primary group. The secondary group can be defined as primary group modifiers,
including aspects such as finger muting and palm dampening. In order to produce clean
controlled notes with correct contextual tone colourings, all four factors must be evident
to some degree.
3.2.4 Plectrum angle
String tone consistency is best achieved when the plectrum angle relative to the string
remains constant. This becomes more difficult when moving between adjacent strings or
string-skipping.211 In these cases, a repositioning of the hand and a changing of the
elbow angle can be required. Often, the natural inclination is to twist the wrist,
effectively reaching for the notes. However, a more desirable result is often achieved by
moving the elbow to deliver the hand to the target area in a controlled motion. This
allows the wrist and palm to accurately duplicate its previous orientation in the new
position relative to the string, prompting plectrum angle consistency.
3.2.5 String fretting
There are a number of problems that can arise when the incorrect fretting of the string
occurs. Placing a finger too close to a fret can result in “string buzz”.212 If either jumbo
frets213 or a scalloped finger-board214 are utilized, minimum left-hand pressure is most
desirable. This helps avoid single notes or chord voicings going out of tune.
211 Observed in Gilbert, Intense Rock, 1988. 212 Martin, El Arte Flamenco De La Guitarra, p. 22. 213 Jumbo frets refer to frets larger and sometimes higher than the standard fret. 214 A finger-board that has the wood carved out between the frets.
Wechter Elite nylon string acoustic guitar
with a scalloped finger-board
When one note is sustained whilst other fingers are changing position it is imperative not
to alter either pressure or position of the original note. One of the advantages of having a
finger-board under the fingers, in contrast to a scalloped finger-board, is that it limits the
amount of pressure that the guitarist can put on the strings.215
The exact pressure needed to fret a note is impossible to specify due to the number of
variables. However, the correct pressure can be defined as the minimum required to
create a note cleanly.216
3.2.6 Finger-tapping fingering position
One of the commonalities between the finger-tapping fingers and the plectrum is the role
that the elbow plays in delivering both to the same position relative to the string.
215 Malmsteen, Masters Series, 1991.
70216 Quine, Guitar Technique. p. 44
71
Although the distance that the elbow travels is different in both cases, a familiarity with
both motions is required.
3.2.7 Finger-Barré
The term Finger-Barré refers to a method used by guitarists to play multiple notes that
occupy the same fret on different strings. In order to do this most efficiently, one finger
is used to fret multiple strings.217 Utilizing finger-barrés can be an advantage in both
single-note melody and chordal harmony.218 Within the constructs of single-note
melody, fretting two strings consecutively using the same finger with separate
movements can jeopardize the tone and slow the tempo. Finger-barrés eliminate the need
for this kind of motion by fretting both notes with one finger and one motion, minimizing
left hand movement.219 Within the framework of chordal harmony, finger-barrés allow
six-note chords and contrapuntal harmony to exist within the same finger shape. For this
reason, all fingers should be capable of executing finger-barrés.
3.2.8 Finger-board hand
Accurately positioning the left hand on the finger-board is one of the most fundamental
abilities required to play the guitar. Its accurate positioning is defined by the thumb at
the back of the electric guitar neck, opposite the fingers.220 When utilizing either slides
or large leaps, the thumb is required to be relocated between positions. Incorrectly
positioning the thumb can render some of the required notes inaccessible, whilst correct
positioning results in relaxed fingering with maximum note accessibility. Most guitar
necks are built with a subtle width change across the length, making note location
217 Bruce Bouillet, Improvisation for Progressive Hard Rock Guitar, California: Back Stage Pass Production, 1989. 218 Ibid 219 Observed in Gambale, Monster Licks and Speed Picking, 1988. 220 Martian, El Arte Flamenco De La Guitarra, p. 22.
72
through feel much harder. Therefore, position shifts can be performed using two
different methods. Firstly, the guitarist can visually reference the neck when a position
shift takes place, the disadvantage of which is the change in visual focus from the written
music to the guitar neck and back. The second method is relative positioning, which is
the calculation of the new position in relation to the previous one.
There is a direct correlation between the speed with which continuous melody lines in
different positions can be played and the quickness of position shifting. A common
failing amongst guitarists is their inability to shift position fluently, with note duration
immediately before, during and after the shift remaining constant. Therefore, if a
continuous tempo is desirable, the speed at which the melody can be performed is reliant
on the guitarist’s ability to shift position fluently.
3.2.9 Note and plectrum synchronization
Synchronization refers to a combined action of depressing left-hand notes and right-hand
picking.221 Although one of the simplest concepts to comprehend, at fast tempi many
guitarists struggle with its practical application. Incorrect synchronization can result in a
lack of clarity in note definition,222 affecting the autonomy of the individual note.223 This
detrimental effect blurs both the initial attack and end point, making note differentiation
more difficult.
221 Gilbert, Intense Rock, 1988. 222 Ibid 223 Gilbert, Get Out of my Yard, 2007.
73
3.2.10 Speed
The development of speed is achieved through consistent disciplined practice. In order to
develop the speed, accuracy and consistency required for the Caprices, technique must
remain consistent at all tempi.224
3.2.11 Sequencing notes and sequences
Due to the difference between the compositional meaning of ‘sequence’ and the guitarist
definition of ‘note sequencing’ some clarification is necessary. A sequence in
compositional terms can be described as successive transposition and repetition of a
phrase at different pitches.225 ‘Sequencing notes’ can best be described as a figuration of
notes within a framework (often diatonic) that may or may not move sequentially.
3.3 Note Expression
3.3.1 Dampening and finger-board muting
In order to fully appreciate the differences between finger-board muting and palm
dampening, and their connection to string tone, a clear definition and understanding of
the two techniques is required. Muting is the prevention of unwanted string noise, often
referring to the underside of the fingers.226 The term dampening is used most often in
relation to the palm being lowered onto the string, which modifies the note envelop
whilst preventing sympathetic string vibration.
224 Petrucci, Rock Discipline, 1995. ; Angelo, Michael. Speed Kills, California: Metal Method Productions Inc., 1991. 225 Wikipedia, ‘Sequence’, http://en.wikipedia.org/wiki/Sequence_(music); accessed 6th September, 2007. 226 Gambale, Monster Licks and Speed Picking, 1988.
The illustration shows finger-board muting and its application. As can be seen, the
undersides of the fingers prevent the strings above the played notes from sounding.227
This is necessary in order to prevent extraneous string vibration by accidentally hitting
the strings with the plectrum, or knocking them with slightly misaligned fingerings.
Muting points
Palm dampening is illustrated below by placing the edge of the hand on the strings.228
Dampening point
As the lower strings can be more prone to sympathetic vibration, using the palm in this
fashion also helps to control any unwanted string noise. The amount of dampening used
is directly proportional to the pressure the palm places on the string; heavy pressure
produces a very short “chunky” staccato sound, where as very little pressure allows a
longer sustained string vibration.
227 Gambale, Monster Licks and Speed Picking, 1988.
74228 Steve Morse, ‘My Personal Picking Exercise’. Guitar Player, Vol. 19, No. 9, September 1995, p. 124.
Illustrated below is one example of the degree to which it is possible to modify the strings
natural vibration. Factors such as the time the wave takes to peak and decay, dynamic
level, attack and note duration, can all be controlled or altered.
Non-dampened and dampened wave form
Electric guitar
Electric guitar
7
.
.
Non-dampened note Dampened note
Especially at fast tempi, both alternate-picking and sweep-picking can benefit from the
clearly defined individual notes that dampening creates.229 Contrasting long sustained
legato note passages require very little dampening.230
One of the problematic issues surrounding palm dampening for note modification is the
tuning issues that excess pressure on the strings can create. This is especially true when
using a floating bridge set-up, where the entire bridge can be depressed if excess pressure
occurs.
By using a combination of finger-board muting and palm dampening, it is possible to
specifically tailor string tone colourings to more accurately represent or customise
229 Observed in Gilbert, Intense Rock 2, 1991. ; Gambale, Monster Licks and Speed Picking, 1988.
75230 Gambale, Monster Licks and Speed Picking, 1988.
76
musical content.231 This is especially pertinent when using distortion, where unwanted
string noise becomes more audible, due to its compression characteristics.
3.3.2 Accents
The ability to colour the accented notes is of major concern to many guitar players, with
some players such as Steve Vai making note colourations such as whammy bar phrasing,
pinch harmonics,232 and feed back,233 a major trademark of their guitar performances.234
For accents to be performed effectively, control over the amount of head room235
available is essential. Accents occupy the higher dynamic range, requiring a larger
physical effort to generate than surrounding notes. Therefore, in order for a dynamic
accent to be clearly discerned, the guitarist is required to play all the other material at a
considerably lower volume. In this way, more dynamic options are available in regards
to when and where to emphasize a note or grouping of notes.236
In order to generate accents the guitarist must control his/her ability to alter the depth that
the pick descends into the strings237 and this in turn controls the amount of pick area that
strikes the string.238 Therefore, the depth that the plectrum is lowered into the strings is
directly proportional to the volume of the accent(s) produced.
231 Gilbert, Intense Rock 2, 1991. 232 Heard in ‘The Attitude Song’, Vai, Flex-able, 1984. 233 Observed in Steve Vai, ‘Blue Powder’, http://www.youtube.com/watch?v=LxLpSKaiQHM; accessed on 28th March 2007. 234 Obrecht, ‘Steve Vai’, pp. 74-154. 235 Head room refers to the amount of loudness above the current volume. Similar to RMS and peak volume when referring to speaker power 236 Simon Phillips, Drum Workshop, Miami: D.I.C. Publication, 1992. 237 Gilbert, Intense Rock 2, 1991. 238 Ibid
77
e strings.
Varying the pressure by which the plectrum is held, can alter both the amplitude of the
accent and the overall volume of the note. Some techniques, such as sweep-picking,
require less pressure in order for them to be performed smoothly.239 However, in
contrast excess pressure can create a more forced result with the plectrum “snagging”
itself on th
Another factor that can alter accent generation and dynamics is the position on the string
where the note is picked. For example, notes picked towards the headstock, where string
displacement increases, create a more “rounded” tone. The increased displacement of the
string at these points can make controlling string dynamic, constancy of tone and
dampening more problematic, a factor that becomes exacerbated at fast tempi. Plectrum
activity closer to the bridge reduces the added variable of excess string displacement,
making overall tone and dynamic more controllable.
When considering accents, another relevant variable is the use of distortion. As has been
discussed, distortion works as a natural compression, squashing the peaks and raising the
lower notes. This affects the accent in terms of available dynamic range, with excessive
amounts of distortion reducing the effectiveness of dynamic accents. Pinch harmonics at
these points can overcome this problem to a degree, as can one of the more mainstream
techniques guitarists use, adjusting the volume knob.240
3.3.3 The volume control
Due to the way the electric guitar pickup is often wired, reducing the volume control
diminishes the power of the pickup in addition to its volume. With the reduction of
239 Observed in Malmsteen, Masters Series, 1991. 240 Observed in Steve Morse, The Essential Steve Morse, New York: D.I.C. Publication, 1991.
78
power comes a reduction in the amount of distortion, creating a less compressed and
more dynamically responsive sound.241 Many guitarists continually alter the volume
controller throughout a performance,242 with the degree of alteration often dependent on
the performer’s perception of the desired dynamic.
3.3.4 Note colouring
The term “note colouration” refers to the expressive qualities that a performer is able to
impose on a note. This can occur at either the moment of note generation, or during its
duration.243 Many electric guitar players utilize different alteration techniques during the
notes’ durations giving them a distinctive sound.
3.3.5 Vibrato
Vibrato is arguably the most universal, versatile and expressive colouration technique at
the electric guitarist’s disposal.244 Therefore, unsurprisingly there are different methods
of executing this form of expression, the simplest of which is the finger vibrato, which is
the finger (and hand in most cases) moving back and forward on the note in the same
position on the finger-board.245 Vibrato speed is altered by changing the speed that the
finger and/or hand move,246 similar in principle to that used by violin players. The
second method has evolved due to the use of frets.
Frets remove the intonation issues that concern string players of unfretted instruments
such as the violin. By playing a note and pulling or pushing the string across the fret in a
241 Gilbert, Terrifying Guitar Trip, 1995. 242 Ibid 243 Allen Kozinn, ‘John Williams’. Guitar Player, Vol. 14, No. 11, November 1980, pp. 58-84. 244 Paul Gilbert, Guitars from Mars 2, Japan: YG Factory Inc., 1996. 245 Ibid 246 Observed in Stump, Arpeggio Lesson Volume 1, 2003.
79
rocking motion, the note changes pitch by changing string tension.247 The extreme pitch
bends that this style of vibrato promotes can be particularly expressive in nature. When
used in combination with the aforementioned more conventional style of vibrato, it can
effectively create discernable differences in consecutive phrases similar in nature. This
scenario often arises in blues pentatonic phrasing.
The more extreme vibrato gained popularity with Jimi Hendrix, in combination with his
extreme minor-third string bends. The trend of detuning the electric guitar in the 1980s
also promoted this style of vibrato, facilitated by the corresponding decrease in string
tension. Guitarists such as Steve Vai, Paul Gilbert and Yngwie Malmsteen enhanced
their virtuosic approach to electric guitar phrasing by making extensive use of it.
Another method of vibrato that has been adopted by some players is called a vertical
vibrato.248 However, this is more akin to a very fast slide backwards and forwards
between two notes,249 making its classification as vibrato arguable.
3.3.6 Whammy bar
Another trend popularized in the 1980s was that of the floating bridge,250 which in turn
further promoted whammy bar vibrato. This technique requires the played note to utilize
the whammy bar consecutively or concurrently to affect pitch and vibrato speed
changes.251
247 Observed in Gilbert, Guitars from Mars 2, 1996. 248 George Lynch, George Lynch, Seattle: R.E.H. Publications Inc., 1990. 249 Ibid 250 The Floyd Rose bridge being the most well known, popularized by Eddie Van Halen. Stix, ‘Life At The Top’, pp. 10-100. 251 Observed in Stevie Vai, ‘For the Love of God’, http://www.youtube.com/watch?v=5NfZBvRvkIg; 29th March, 2007.
80
The whammy bar can also be used to colour notes beyond simple vibrato. For example,
it can be used effectively to alter a notes attack.252 By holding the bar with the fourth
finger 253 it is possible to alter the pitch simultaneously of almost any note played.254 In
this fashion, entire passages, chords, as well as individual notes within scalic patterns can
be targeted for pitch alteration and/or vibrato.255 The stylistic signatures of both Vinnie
Moore and Steve Vai make extensive use of this technique for phrasing and motif
colouration.
3.3.7 Volume control
As has been discussed in a previous paragraph, the volume knob can play a pivotal role in
tone alterations; however, it can also be used to eliminate note attack. By picking any
given note with the initial volume at zero, the fourth finger on the right hand can then
turn the volume up and back down.256 This effectively eliminates the notes plectrum
attack and decay257 producing a “violinistic” quality to the notes,258 which is especially
effective when using effects such as reverb and delay.259
3.3.8 Harmonics
Many guitar players such as Zakk Wylde260 utilize pinch harmonics to aid in accents or to
emphasize certain strong harmonic notes.261 Pinch harmonics on the electric guitar can
be generated when the pick and part of the thumb strike the string at the same time, at the
252 Lynch, George Lynch, 1990. 253 Observed in Vinnie Moore, Advanced Lead Guitar Techniques, New York, Hot licks Productions Inc, 1987. 254 Observed in George Lynch, George Lynch, Seattle: R.E.H. Publications Inc, 1990. 255 Vinnie Moore, Advanced Lead Guitar Techniques, New York, Hot Licks Productions Inc., 1987. 256 Observed in Steve Morse, The Complete Styles of Steve Morse, New York: D.I.C. Publication, 1991. 257 Jimmy Brown, ‘Dixie Flyer’. Guitar World, Vol. 13, No. 5, May 1992, pp. 37-46. 258 Heard in ‘Cathedral’, Van Halen, Diver Down, Warner Bros. Records, BSK 3677, 1982. 259 Heard in the beginning of ‘Black Star’ Yngwie J Malmsteen, Rising Force, Polydor, 825 324-2, 1984. 260 Observed in Zakk Wylde, Pentatonic Hardcore, Japan: YG Factory Inc., 1997. 261 Observed in Lynch, George Lynch, 1990.
81
point when note is picked.262 Altering the position along the string where the note is
generated changes the harmonic produced. Notes created in this fashion can be
extremely effective for accents, strong beats and emphasizing certain notes in a harmonic
hierarchy. Additionally, it is possible to add pinch harmonics to notes in differing
amounts, which range from completely obscuring the fretted note263 to adding subtle
harmonic flavouring.264
Due to the harmonic fundamentals available on the guitar, it is possible to tap different
harmonic intervals whilst holding down single notes or chords265 with the left hand.266
This is often done in conjunction with string bends; firstly, by sounding the note,
followed by a tapped harmonic interval with the right hand, and finally a left-hand string
bend.267
Another method of producing harmonics, popularised in the 1980s, is described as a
rolling harmonic.268 The technique uses either the right-hand palm269 or the fingers,270
which are pressed against the string/s. Simultaneously the left hand either trills or pulls
off the strings that are being covered by the right hand. Moreover, the right hand can
move position,271 thereby changing the sounding harmonics.272
262 Mike Stern, Guitar Instructional Video, New York: Rittor Music Inc., 2000. 263 Observed in Wylde, Pentatonic Hardcore, 1997. 264 Observed in Gilbert, Guitars from Mars 2, 1996. ; Heard in ‘Wicked’, Symphony X, The Odyssey, InsideOut Music, 693723 653426, 2002. 265 Observed in ‘Guitar Solo’, Van Halen. Live without a net, Warner-Pioneer, 45P6-9022, 1986. 266 Arlen Roth, ‘Harmonic Bends, Steel Effects, and Slide’. Guitar Player, Vol. 19, No. 5, May 1985, pp. 50-54. 267 Heard in ‘That Hormone Thing’, Racer X. Superheroes, Shrapnel Records, Inc., SH 1153 2, 2001. ; Roth, ‘Harmonic Bends, Steel Effects, and Slide’, pp. 50-54. 268 Lynch, George Lynch, 1990. 269 Observed in Gilbert, Intense Rock 2, 1991. 270 Lynch, George Lynch, 1990. 271 Heard in ‘The Stranger’ and ‘The Witch and the Priest’, MacAlpine, Edge of Insanity, 1985. 272 Lynch, George Lynch, 1990.
82
3.3.9 String bends
String bends are a popular method to alter string pitch and can be used in conjunction
with note-colouring techniques. Simple to execute, the string bend alters the tension of
the string by either pulling it towards the bottom of the neck or pushing it towards the top
of the neck.273 The note most commonly bent to is the next note in the scale, usually a
minor or major second. It is also possible on the electric guitar to bend a number of
strings at once,274 either sounded consecutively275 or concurrently.276 A firm grip with
the thumb on the back of the neck is essential, as string bends by design increase both the
tension of the strings and the pressure on the fingers.277
3.3.10 Pickup selection
As has been discussed, use of the plectrum in different positions on the string results in
different sound timbres.278 The different pickup positions along the string translate these
differences into sound. As different techniques respond more favorably to certain string
vibration characteristics, it follows that the correct pickup selection to translate these
techniques is essential. The bridge pickup translates the relatively treble sounding tone,
the violin equivalent of Sul Pont.279 In contrast, the neck pickup produces a
comparatively rounder tone which is more responsive to the string’s bass frequencies (Sul
tasto).280 Therefore the bridge position is often used for more “cutting” tremble sounds
such as pinch harmonics or partial harmonics, whilst the neck pickup’s more rounded
tone is better suited for smoother lines such as sweep-picking or legato hammer-ons and
273 Observed in Gilbert, Terrifying Guitar Trip, 1995. 274 Lynch, George Lynch, 1990. 275 Gilbert, Guitar Techniques, 2006. 276 Lynch, George Lynch, 1990. 277 Observed in Paul Gilbert, Guitars from Mars 1, Japan: YG Factory Inc., 1996. 278 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005. 279 Heard in ‘Catapult to Extinction’, Racer X, Getting Heavier, Shrapnel Records, Inc., SH-11612, 2003. 280 Heard in ‘Love in on Time’, Nitro, Call to Arms, M.A.C.E. Music, Inc. 1-50505, 2001.
pull-offs. The middle pickup exhibits characteristics reminiscent of both the neck and
bridge pickup and can vary in tone dependent on its exact position and strength.
Although pickup selection is often influenced by technique, it is not always practical to
continually change pickup combinations. Therefore, right-hand-intensive music often
requires a guitarist to execute multiple techniques with the same pickup selection,
irrespective of its suitability. For this reason, it is necessary to practice all techniques
using different pickup combinations, so that familiarization with various pickup nuances
can be achieved.
Many guitar players in the neoclassical field, such as Yngwie Malmsteen281 and Joe
Stump,282 can be seen continually switching between different pickup combinations.
This is made possible through the use of a five-way pickup selector switch283 (as pictured
below), which can be changed by the little finger on the right hand extremely quickly.284
SWS-1-1 - 5-Way Pickup Selector Switch,
Once accustomed to this method of pickup selection, one can continually change between
pickup combinations, especially with legato passages, minimizing the interruptions to the
281 Obrecht, ‘Rising Force’, pp. 58-74. 282 Observed in Stump, Arpeggio Lesson Volume 1, 2003. 283 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005.
83284 Observed in Malmsteen, Masters Series, 1991.
84
flow of the music.285 This is made possible by minimal plectrum use that electric guitar
legato requires. The respite in right-hand motion allows pickup selection changes to be
made with relative ease, which allows a more tailored sound to be achieved.
3.4 Timbre
In the accompanying disc, ‘Caprice No.13’ and ‘Caprice No. 20’ utilize a combination of
clean and distorted timbres to highlight the contrasting sections within each piece.
Generally speaking, lyric passages respond best to clean timbre whilst virtuosic music is
more open to distortion. There are no hard and fast rules, and always the performer must
finally ask: ‘Can the timbre be controlled and does the choice of timbre work
aesthetically?’ In general, distortion tends to blur the nuances of complex harmonic
movement, whilst intervals such as octaves and fifths that are played within a certain
range, may benefit from its use. ‘Caprice No. 14’, for example, demands utter clarity and
distortion, if used at all, would require tight control; ‘Caprice No.24’ could be played
with or without distortion, depending on whether the performer wanted a crystalline or
full-blooded effect.
3.5 Chapter Summary
Many of these factors both directly and indirectly affect the sound quality of most performances
irrespective of the genre. Therefore, it is necessary to have a comprehensive of tone and note
colourings of which the electric guitar is capable, before preparing a transcription of Caprices.
Many of these factors represent the essence of expressionistic performance on the electric guitar,
making it possible to inject personality and artistic expression into performance.286
285 Observed in Stump, Arpeggio Lesson Volume 1, 2003. 286 Morse, The Complete Styles of Steve Morse, 1991.
85
Chapter Four: Analysis
4.1 Introduction
While any electric guitar technique can be used to achieve a musical outcome, certain
solutions produce more desirable results than others. For example, while alternate-
picking can be used to play arpeggios, the low note per string density is more suited to
the economized motion of sweep-picking. More demanding tempi necessitate a greater
need for correct technical selection, without which musical continuity can be put at risk.
Each musical technique has a corresponding technical counterpart, providing optimum
efficiency whilst preserving the greatest musical integrity. This premise was the overall
deciding factor in regards to technical aspects within the transcriptions.
The breakdowns shown in Figure 1 illustrate which electric guitar techniques appear in
each of the Caprices. Although this breakdown is extremely generalized, it provides an
overview that can be invaluable when analyzing specific trends and technical
combinations. From a fundamental viewpoint it also aids in the identification of the three
main techniques discussed hereafter and their subsequent technical variations.
Figure 1
86
87
88
89
90
91
92
4.2 Breakdown and categorization
In order to fully appreciate application of electric guitar technique to the Caprices, an
analysis from a purely technical standpoint is required. This allows unique observations
to be made that may be obscured through more traditional analysis techniques. One of
the most important concerns the complex interaction between individual technical
elements.
At their most fundamental, the techniques used in the transcriptions can be broken down
into three major groups; hammer-ons and pull-offs including finger-tapping, sweep-
picking and alternate-picking. Finger-picking techniques also appear occasionally and
are split into two categories; “Finger-picking” and “chicken-picking”. However, these
are not considered in the aforementioned fundamental groups as they are only offered as
alternatives.
These three technical categories represent the bulk of electric guitar technique in general,
and are the only techniques needed to perform the transcriptions of the Caprices. They
can be broken-down into various subcategories being both musical and physical in
nature. Additionally, they can appear on their own or in varying combinations dependent
on musical content.
With the exception of ‘Caprice No. 6’, which uses one technique almost exclusively,
other Caprices require technical combinations in order to best reflect their musical
content. The table below represents a summarized categorization of techniques that must
be mastered in order to play the Caprices proficiently on the electric guitar.
93
4.2.1 Technical categorization
Technique Technique sub-group Caprice in which the
technique appears
String-skipping 1, 2, 3, 24
Thirds, sixths and octaves 1
Double and triple stops, quadruple stops 1, 2
Sweep-picking
Combination of alternate-picking and
Sweep-picking
1, 2, 3, 4, 5, 7, 9, 10, 11, 12,
15, 16, 18, 20, 21, 22, 23, 24
String-skipping 2
Straight alternate-picking 2, 3, 5, 7, 8, 9, 10, 11, 12, 13,
14, 15, 16, 17, 18, 19, 20, 21,
22, 23, 24
Double-stops, triple stops, quadruple stops 1, 4, 7, 8, 9, 11, 13, 14, 15, 17,
18, 19, 20, 21, 22, 23, 24
Thirds, sixths and octaves 3, 4, 7, 8, 23, 24
Alternate-
picking
With pedal note 20
Single finger finger-tapping 6
Finger-tapping in combination with
Hammer-ons and pull-offs
8
Double-handed finger-tapping tapping 2, 4, 6, 7, 8, 9, 10, 11, 14, 20,
21, 23, 24
Hammer-ons
and pull-offs
including finger-
tapping
Hammer-ons and pull-offs in combination
with alternate-picking
6,10, 11, 13, 17, 19, 22, 24
94
4.2.2 Individual techniques
While these three techniques may seem a relatively small number to master, breaking
them down into both musical and physical aspects results in an infinite number of
possibilities. However, from a technical perspective, the areas that require mastery are
finite in number.
Alternate-picking, finger-tapping, and hammer-ons and pull-offs, can each be divided
into three subgroups based on physical movement; single-string, adjacent string, and
string-skipping motion. In contrast, sweep-picking by design cannot be played on a
single-string, making that technique divisible into only two of the three categories;
adjacent string and string-skipping motion.
There are a number of important observations concerning individual techniques and their
functionality within the compositional style of the Caprices. The most wide-spread
technique that appears in relative isolation is alternate-picking.
4.3 Alternate-picking
Several reasons exist for the widespread use of alternate-picking within nearly all the
Caprices. One of the most important is the playing of groupings of notes that utilize
staccato technique. This requires a uniformity of tone, volume, duration and attack,
illustrated in Figure 2.
Figure 2
‘Caprice No. 2’, bars 1-4,
The other possible techniques that could be used to play this with the required uniformity
would be either finger-tapping, or hammer-on and pull-offs. However, both techniques
lack the control in terms of attack and string tone that alternate-picking provides.
The frequency with which alternate-picking arises can also be considered a consequence
of utilizing a plectrum in an efficient manner. Although not in itself musical in nature,
the order in which alternating motion takes place can be heavily influenced by musical
content, illustrated in Figure 3.
Figure 3
‘Caprice No. 2’, bars 59-61,
95
The alteration of the pedal note dictates that a reversal of the plectrum stroke motion is
required in order to retain maximum plectrum efficiency. In order to achieve this,
consecutive down and up-strokes are used at turnaround points (*).
The transcriptions also illustrate how extensively alternately-picked double, triple and
quadruple stops are utilized within the Caprices. Although sweep-picked multi-stops are
used occasionally at cadential points as in Figure 4, alternately-picked multi-stops are
used in a variety of different musical scenarios.
Figure 4
‘Caprice No. 1’, bar 16
In Figure 5, alternately-picked double and triple-stops are used in order to emphasize the
dominant to tonic harmony. The last two motions are consecutive down-strokes which
are used to strengthen the final dominant to tonic progression, as the music slows down at
the cadential point.
96
Figure 5
‘Caprice No. 19’, bar 65-66,
Alternate-picking in these situations is often the optimum solution, due to the speed at
which the chords occur. However, by using ritardando commonly used at cadence
points, two consecutive down-strokes can be used to emphasize the cadential progression.
Alternately-picked multi-stops are not used exclusively at cadence points. Figure 6 and
Figure 7 illustrate how consecutive down-strokes can be used in order to imitate the bow
strokes to a certain degree, preserving the original musical intention.
Figure 6
‘Caprice No. 14’, bars 1-6
Given edition
97
Figure 7
Transcription
In increments of two bars, Paganini first states the theme, adding first the 5th degree of
the chord, and then spreads the chord over a larger range. However, it is the alternate-
picking motif used that is of technical interest. The consecutive down-strokes occur on
the eighth notes, with the traditionally weaker up-strokes being used for the faster
sixteenth notes, which are orchestrated to correspond with the weaker beats of the bar. In
such a way, plectrum technique can be used to reinforce musical intention.
It is worth noting that the latitude to utilize this technique is possible only at slower
tempi. It is here that consecutive down-strokes are more feasible as the plectrum needs to
be lifted back over the already struck strings. Variations of this musical technique appear
throughout the transcriptions, which often revert to alternately-picked multiple stops as
tempi increase.
4.4 Double-handed finger-tapping
Apart from alternate-picking the only other technique to appear in relative isolation from
other techniques is double-handed finger-tapping. Although offered as an alternative to
the main score, it requires more skill and coordination to execute than the more main
stream techniques. However, once developed it provides an alternative that can produce
fundamentally different yet viable musical results.
98
There are a number of musical reasons why double-handed finger-tapping is desirable,
one of which is the contrapuntal nature of certain musical phrases. The ability to
autonomously generate melodic and harmonic material in both hands can effectively
improve contrapuntal musical realization. The musical example below illustrates how it
is possible to divide the notes between the right and left hand.
Figure 8
‘Caprice No. 8’, bar 59
One of the advantages of hand independence in note generation is the ability to provide
each of the melody lines with contrasting or complementary note colourings, such as
different degrees of vibrato. This can add aurally to the independence of each of the
melody lines, an aspect that is much more difficult to achieve using a more main stream
approach.
Often the musical division between the two hands is not as obvious as in the
aforementioned example. On many occasions a certain latitude is needed between
adhering to the original idea and creative license, as in Figure 9.
99
Figure 9
‘Caprice No. 4’, bars 50-55
A separation into intuitive divisions between the two hands has occurred, with the right
hand playing the melody and the left hand the harmonic accompaniment. However, on
the first quarter note of bar 52 and certain notes in bar 54, harmony notes are shared
between the two hands to increase playability.
As the notes in each hand become closer in pitch, it becomes more difficult to
differentiate which hand is playing melody or harmony. At that point, retaining a fluid
execution is the deciding factor in note distribution rather than retaining an exclusive
separation of melody or harmony between the hands.
Another reason for the frequency in which double-handed finger-tapping occurs, is the
extensive use of double, triple and quadruple stops. These commonly arise in
introductions, themes, cadential points and modulation sequences. Often at these points
it is possible to gain a consistent string tone in the chord if the strings in question span a
minimal range of string gauges. In effect, this allows the strings to vibrate in their most
homogeneous combination. This technique is most effectively performed by using
finger-tapping because of the wide pitch range of the notes, making their fretting on
100
adjacent strings relatively simple. The chords in Figure 10 illustrate a typical finger
orchestration and note dispersal pattern that arises from this concept.
Figure 10
‘Caprice No. 7’, bar 25-26
The combination of chords and scalic runs poses a number of technical problems, if
finger-tapping is not used throughout. An issue can occur when attempting to change
techniques from double-handed finger-tapping to single-note plectrum use in the middle
of the bar. This has the advantage of being able to use the palm of the plectrum hand to
enforce a strict staccato on the scalic runs. However, the problematic nature of switching
techniques can make it impractical, and from a string tone perspective, inconsistent. The
double-handed solution presents a number of challenges, one of which is the staccato
notes of the scalic run, which in order to be successful, require finger removal
immediately after the note has been tapped. Once double-handed finger-tapping has been
developed, this method of creating staccato notes is relatively easy and indeed part of the
fundamentals of finger-tapping, discussed in depth in the hammer-ons and pull-offs
chapter.
101
102
4.5 Left-hand techniques
In this study the left hand is chiefly in a supporting role for the right. This is due to the
right hand being responsible for the majority of the articulations, enunciations and
techniques—as it is on the violin. Viewing these right-hand articulations in such a
fashion relegates the left hand to a subordinate position responsible for the fretting of
notes. That given, however, one or two general points about the left hand should be
noted.
Due to the nature of tuning guitar passages, most note combinations can be played at
multiple positions along the finger-board. Therefore, left-hand positioning will alter
depending on how far around the finger-board the fingers need to stretch, and the arc of
the fingers. This arc is determined by the amount of strings that need to be reached over
and their positioning on the neck. This can in turn affect the part of the finger pad that
frets the strings, with passages played on the lower 6th and 7th strings (depending on neck
width) requiring a considerable arc. Additionally, the thumb is required to move towards
the bottom of the neck to a certain extent as the fingers reach over more strings. This
gives both maximum reach and accessibility of the fingers.
The above point is to a large extent based around the assumption that the left hand is in a
correct position relative to the neck, so to enable maximum note access: this invariably
places the left-hand fingers close to ninety degrees to the finger-board. Due to the fact
that multiple positions can be used to obtain the same note pitches, it is vital to preserve
the accurate positioning of the thumb on the back of the neck for optimum left-hand
finger angle.
4.6 Technical combinations
There are a number of observations that need to be made about the co-dependent
relationship between techniques. This study focuses on the separate techniques and how
they combine contextually within the Caprices at both the micro and macro levels.
4.6.1 Combination of sweep-picking and alternate-picking
Used extensively throughout the Caprices, the combination of sweep-picking and
alternate-picking is an extremely effective musical tool, so much so that it appears not as
separate techniques but rather as a technique subgroup under the main heading of sweep-
picking. Wherever triadic harmony is amalgamated with scalic melody, the technical
combination of sweep-picking and alternate-picking is most prevalent.
An example of this occurs in the first melody motif of ‘Caprice No. 16’ in bar 1.
Figure 11
‘Caprice No. 16’, bar 1
The compositional technique of building complex melody within a strong harmonic
framework is the mainstay of the Caprices. This factor explains the regularity in which
alternate-picking and sweep-picking combinations arise.
103
4.6.2 Combination of hammer-ons, pull-offs and alternate-picking
Another technical combination that occurs regularly is that of hammer-ons and pull-offs
in conjunction with alternate-picking. Unlike sweep-picking/alternate-picking
combinations in which notes cannot be played unless the techniques are combined,
alternate-picking and hammer-on and pull-off combinations can be used as a timbral
alternative to plectrum-generated notes. The legato feel of the hammer-ons and pull-offs
render them a viable alternative in a variety of different playing scenarios.
Although a plethora of technical combinations are available, they are not always the first
option, as in the example below. The initial vibration is created with the plectrum using a
down-stroke, with the rest of the notes being played as either pull-offs or hammer-ons.
This is one of the fundamental combinations of hammer-ons and pull-offs with alternate-
picking. The minimal plectrum use creates a smooth legato string tone if plectrum grip
pressure is kept to a nominal level.
Figure 12
‘Caprice No. 22’, bar 40 and 41
One of the by-products of this approach is the ability to retain both picking continuity and
string tone consistency by accenting the first note of each group of six with a plectrum 104
stroke. Another advantage is simplifying the trills execution when played with only
hammer-ons and pull-offs, rather than complex plectrum motion. This simplification is
one of the numerous advantages of utilizing hammer-ons, pull-offs and alternate-picking
in these playing scenarios.
Unlike Figure 12, where plectrum motion was kept to a minimum, the example below
illustrates an even balance between both hammer-ons and pulls-offs, and alternate-
picking. The combination of the two techniques is needed in this case to more exactly
imitate the neighbour-note bow phrases.
Figure 13
‘Caprice No. 10’, bars 5 and 6
Original score
Figure 14
Transcription
One of the advantages of utilizing this kind of combination of techniques is that it can be
used to exactly imitate or slightly alter the feel of certain passages. For example, in the
violin version the first three notes are played with a single bow stroke and the second
105
three with a different stroke in staccato form. To better imitate the original, the first three
notes are played with one plectrum stroke followed by a pull-off and a hammer-on whilst
the second three utilize alternate-picking. By lowering the palm of the plectrum hand
onto the strings in combination with alternate-picking, it is possible to more exactly re-
create the original attack and intention of the passage.
Imitation is not always the goal in performance and it is possible to utilize the
combination techniques to insert creativity into musical phrasing. The example below
illustrates a possible method of playing embellishments such as grace notes. By playing
the grace notes with hammer-ons and the strong melody and harmony notes with
alternate-picking, the combination techniques can help to reiterate the note hierarchy.
Figure 15
‘Caprice No. 11’, bars 5-6
In contrast to the previous musical example, recreating the exact phrasing did not take
precedence over technical and musical creativity.
106
107
4.7 Chapter Summary
From the above analysis it is possible to discover a hierarchy of techniques and
combinations of techniques allied to the performance style of the Caprices. These
discernable hierarchies now usefully become the basis for developing new exercises to
prepare for performance.
It can be argued that the degree of autonomy in which a technique appears is directly
related to the size of the musical phrase analyzed. Having recognized this argument,
alternate-picking and double-handed finger-tapping are the main techniques that occur in
relative autonomy throughout the Caprices. Both techniques appear in varied
permutations ranging from alternately-picked multi-stops, to eight-fingered finger-
tapping.
The Caprices are musical in nature and often require multiple techniques in different
combinations. The ability to combine these techniques is essential as is the ability to
fluently change between them. This is due to the frequency with which these
combinations occur. They range from sweep-picking and alternate-picking to hammer-
ons, pull-offs and finger-tapping combinations.
As has been discussed, there are a number of reasons why both individual and technical
combinations arise. In the case of the Caprices, musical framework dictates the
approach, and informs the frequency in which techniques arise.
Chapter Five: Sweep-picking
5.1 Introduction
Best described as a dragging or pushing of the plectrum from one string to another,287
sweep-picking is an extremely effective method of playing both scalic patterns and
arpeggios.288 By striking two or more adjacent strings in a continuous movement, the
right hand “sweep” maximizes the efficiency of the plectrum hand motion.289 Although
not exclusively utilized in the performance of single-note melodies, it is in this context
that sweep-picking excels, developing speed in conjunction with a uniform string tone.
Figure 1 illustrates sweep-picking290 with Figure 2 providing a contrasting and arguably
more conventional alternate-picking solution.
Figure 1
Sweep-picking
‘Caprice No. 7’, bar 67, beat 2
287 Gambale, Monster Licks and Speed Picking, 1988. 288 Some times refered to as “Rake Picking”, Marshall, Yngwie Malmsteen’s Style, 1986. 289 Ibid
108290 Frank Gambale, Speed Picking. Milwaukee: Hal Leonard Publishing Corporation, 1994, p. 2.
Figure 2
Alternate-picking
‘Caprice No. 7’, bar 67, beat 2
The sweep-picking technique used in Figure 1 reduces plectrum hand movement, by
utilizing the same downward motion to strike two notes when moving between strings.291
Striking two notes with the same motion reduces the physical movement by a third when
applied to three-note-per-string scales.292 However, in the case of arpeggios where note
density per string decreases, the efficiency of sweep-picking enables speed to remain
consistent.293
5.2 Fundamentals
5.2.1 Notation
As can be seen in Figures 1 and 2 the plectrum strokes are notated using the same
conventions as bowing strokes. An up-stroke is notated with a V and a down-stroke with
a Π. It is imperative when practicing these exercises to adhere to the written strokes, as
the exercises have been designed specifically to exploit different aspects of sweep-
picking used within the Caprices. A musical phrase may be prepared for sweep-picking
two bars prior to the actual event taking place. Any alterations to the plectrum strokes
291 Gambale, Speed Picking, p. 2 292 Gambale, Monster Licks and Speed Picking, 1988.
109293 Gambale, Speed Picking, p. 3.
110
can significantly change the efficiency factor and in some cases make the passage
unplayable.
5.2.2 Technical areas of concern
Before attempting sweep-picking, it is prudent to familiarize oneself with common
problem areas. This allows them to be avoided, whilst alleviating the need to relearn
techniques incorrectly developed at the fundamental stage.
Although Figure 1 seems obvious in its execution, there are a number of primary
concerns that arise in conjunction with this extract and affect sweep-picking in general.
The first of which is that the “sweep” must be played in one motion. A common error
when initially attempting sweep-picking is the use of separate down-stokes instead of one
continuous motion.294 Far from optimizing the plectrum motion, this action doubles the
amount of movement needed to play successive notes.295 Using consecutive down-
strokes is a valid technique; however, in keeping with the sweep-picking theme of
optimized motion, its usefulness is minimal.
Another area of concern is the synchronization that must occur between the two hands.296
Accurate synchronization results in phrases and notes that possess both a uniform tone
and precise note duration.297 Although simple in theory, constant vigilance is needed
throughout the fast-paced arpeggios and scales of the Caprices. Even when an advanced
294 Gambale, Monster Licks and Speed Picking, 1988. 295 Ibid 296 Ibid 297 Observed in Gambale, Monster Licks and Speed Picking, 1988.
level of technical command has been achieved, sweeps that span six strings require
constant focus.298 Figure 3 illustrates a case in point extracted from the transcriptions.
Figure 3
‘Caprice No. 24’, bars 152-153, finale
5.2.3 Finger-Barré
Figure 3 introduces the finger-barré technique, which increases efficiency but can
adversely affect the synchronization between the two hands. Simply stated, a Finger-
Barré is an efficient method of playing two or more notes that occupy the same fret on
different strings. Although minimum finger movement is necessary, successful
articulation requires that the Finger-Barré be removed incrementally, allowing the notes
to reach their full duration. This must occur in conjunction with the plectrum striking the
strings in exact synchronization. Figure 4 illustrates two fingers fretting five strings.
111298 Gilbert, Intense Rock, 1988.
Figure 4
‘Caprice No. 24’, bar 138, Variation 11
This type of combination technique requires that both hands are developed concurrently
and not as independent entities.
5.2.4 Sweep-picking and dampening
One of the secondary elements requiring development in conjunction with sweep-picking
is palm dampening. Synchronization between the two hands is aided by precise
dampening and muting, to prevent notes ringing past their desired duration.299 This in
turn makes the rhythmic framework more apparent, something that can be easily
obscured by the mechanics of sweep-picking.300
Irrespective of either upward or downward motion, palm dampening is used to control a
number of elements such as tone,301 note duration and superfluous string noise.302 The
issue of string noise and its control is especially prevalent in musical situations where a
low density of notes over a large number of strings occurs, such as arpeggios.
299 Gambale, Monster Licks and Speed Picking, 1988. 300 Gilbert, Intense Rock, 1988. 301 Gilbert, Intense Rock 2, 1991.
112302 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989.
113
Accurate dampening also aids in the articulation of each note and the audibility of its
initial attack.303 The more strings that the sweeping technique covers the greater the risk
that subsequent notes will be obscured after the initial attack.304 This problem is
fundamental to sweep-picking305 and often occurs when accurate dampening and the
articulation of notes is replaced by premature attempts to increase tempo.306
5.2.5 Plectrum angle
With sweep-picking being either a pushing or pulling of the plectrum across the strings,
the issue of retaining the correct plectrum angle arises.307 By maintaining the same
plectrum angle relative to the string a uniformity of tone throughout a melody line can be
achieved.308 The string tone uniformity stems from the right hand sweeping across the
strings with the same plectrum angle.309
One of the fundamental problems arising is the twisting of the wrist as opposed to
pushing it evenly across the strings. This can occur when attempting to reach notes at the
upper extremities of the sweep. A number of reasons can be cited for the wrist twisting
phenomenon including changing string gauge and a failure of the wrist to reach the
correct position before the melodic pattern changes direction.
303 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 304 Gambale, Monster Licks and Speed Picking, 1988. 305 Ibid 306 Gilbert, Intense Rock, 1988. 307 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 308 Observed in Gambale, Monster Licks and Speed Picking, 1988. ; Yngwie J Malmsteen, Play Loud! The Second Movement, Arpeggios, Japan: YG Factory Inc., 1995. 309 Observed in Gambale, Monster Licks and Speed Picking, 1988. ; Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989.
114
5.2.6 Plectrum pressure and string tension
Within the technique of sweep-picking the ability to make slight alterations in plectrum
grip pressure is useful and directly relates to the gauge of the string. Pressure variations
can take place to compensate for the changing string gauge and string tension. For
example, the pressure used to play the 1st string can vary noticeably to that used to play
the 6th string.310 The alteration of pressure in controlled increments as the right hand
moves across the strings can allow a more uniform tone and volume to be achieved.311
Unlike alternate-picking, which can utilize a more varied degree of plectrum pressure,
sweep-picking is a technique which requires more subtle alterations.312 This is largely
due to the mechanical motion sweep-picking employs when moving from one string to
the next.313 Within alternate-picking, the arc of the plectrum has more space to strike the
new string.314 This contrasts the sweep-picking motion which pushes the plectrum onto
the next string.315 Consequently, string tone consistency is easier to achieve whilst
accented dynamics become more difficult to perform.
The transcriptions make use of a low B string (a trend popularized by modern rock
culture),316 which requires discussion in conjunction with plectrum grip pressure. Due to
its tension and tuning, the low B string’s displacement is often greater than its
neighbouring strings. Therefore, it can require a lighter plectrum pressure when it is
struck. The B string should, technically speaking, be a different length in order to retain
310 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 311 Observed in Malmsteen, Play Loud! The Second Movement, Arpeggios, 1995. 312 Ibid 313 Observed in Stump, Arpeggio Lesson Volume 1, 2003. 314 Petrucci, Rock Discipline, 1991. 315 Marshall, Yngwie Malmsteen’s Style, 1986. 316 Bands such as Korn make extensive use of the low B in their music.
115
the same tension and rigidity of all the other strings. However, due to the physical
limitations of electric guitar construction this is not always the case.317
5.2.7 The development of sweep-picking in conjunction with alternate-picking
The analysis section of this study clearly identifies the interdependent relationship
between alternate-picking and sweep-picking. This requires a certain degree of
concurrency in the development of both techniques. Having acknowledged this point, the
function of alternate-picking and its execution is assumed knowledge and requires
development before attempting combination exercises.
5.2.8 The odd and even plectrum stroke formula
Plectrum strokes by design are either up or down-strokes, of which the number of strokes
per string is dictated by musical content. In order to take advantage of the economy of
motion that sweep-picking provides an odd number of plectrum strokes are required per
string.318
The common three-notes-per-string format requires the correct initial stroke in the same
direction as the melodic contour. Figure 5 illustrates the detrimental impact on plectrum
efficiency caused by incorrectly assigning the initial stroke.
317 One of the exceptions being the Hipshot® Bass Xtender Drop D utilized for instantaneous tuning changes, http://www.hipshotproducts.com/cart.php?m=product_detail&p=87#; accessed May 20th 2007. 318 Gambale, Monster Licks and Speed Picking, 1988.
Figure 5
In bar 1 the initial stroke moves in the same direction as the melodic contour, facilitating
the sweep between D and E notes.319 In contrast to this, bar 2 shows the initial stroke in a
contrary direction to that of the melody preventing the sweep between strings. This
requires the plectrum to be lifted over the already struck D note to play the E note at the
string crossing point.320 Bars three and four illustrate the same principle on a descending
pattern.
5.2.9 Sweep-picking and bow technique
A fundamental understanding of continuous on-the-string and off-the-string bowing
techniques jeté, ricochet, up-bow staccato and down-bow staccato is required if one is to
appreciate fully the relationship between these continuous motion bowing strokes and
sweep-picking.
Up-bow and down-bow staccato differ from jeté and ricochet in that the bow never
leaves the string; the note duration is controlled by the physical stopping of the bow
stroke.321 Although this differs from the single motion of sweep-picking, where the
plectrum is pushed “through” the notes, it demonstrates many similarities to the double-
down-strokes. These are often avoided in sweep-picking due to the speed restrictions, the 319 Gambale, Monster Licks and Speed Picking, 1988. 320 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989.
116321 Ivan Galamian, Principles of Violin Playing and Teaching. London: Faber and Faber Ltd, 1964, p. 78
117
performer having to strike the string and lift the plectrum back over the string in question
in order to re-strike it. While both the up-bow and down-bow staccato require less
motion from the wrist to reactivate the string vibration, there is a speed restriction created
by the stopping and starting motion of the bow.322 This restriction is similar in principle
to the one that occurs when using double-down-strokes.
Transforming the muscular trembling described in relation to the continuous bowing
motion of staccato into a controlled usable musical technique can be extremely
difficult.323 In principle this exhibits techniques and common concerns to that of trem-
picking, where this kind of muscular motion is utilized to its full extent.324 These
technical similarities range from plectrum and bow pressure against the string,325 to the
need to control the overall speed of the muscular motion in order to harness it for
practical use at different tempi.326
Both jeté and ricochet present similar concerns, motions and string tone nuances, to
sweep-picking. Although sweep-picking does not rely on the natural bounce of the
strings as do the different ricochet bowing techniques, it is similar in a number of ways.
To cite one obvious example, once the initial motion has started in sweep-picking the
wrist follows from one string to another in a manner analogous to ricochet where the bow
is “thrown onto the string”.327
322 Galamian, Principles of Violin Playing and Teaching. p. 78 323 Ibid 324 Angelo, Speed Kills, 1991. 325 Galamian, Principles of Violin Playing and Teaching, p. 79. 326 Angelo, Speed Kills, 1991. 327 Galamian, Principles of Violin Playing and Teaching, p. 81.
118
There are a number of parallel concerns when comparing sweep-picking to the actual
motion of ricochet bowing, one of the most important being controlling the distance the
bow bounces from the string. With speed being a primary concern in both techniques,
it is necessary to utilize the optimum distance that either the bow or the plectrum is
removed from the strings. After the initial bounce, the succeeding bounce is controlled
by the pressure of the first finger.328 In sweep-picking, controlling both the plectrum
pressure and amount of pick depth used to strike the string is also the responsibility of the
first finger (a premise only valid if the first finger and thumb grip the pick).
Another similar concern is which part of the plectrum strikes the string and how much of
the pick comes into contact with the string; too much pick and it can get “snagged” in the
strings, too little and notes can be missed or not struck properly. Ricochet bowing has
similar concerns in which part of the bow creates the required bounce, with the distance
from the tip of the bow being the determining factor.329
As in sweep-picking, the first stroke of ricochet bowing, which can occur from any
height off the strings, can be accented as this is the initial “throw down” of the bow.
However, both bowing and picking techniques share a difficultly in isolating individual
strings for extreme dynamic accents, especially at fast tempi, once the initial motion has
begun. Although possible, speed often needs to be sacrificed in order to execute this with
accuracy. In bowing, the height of the bounce needs to be adjusted whilst in sweep-
picking an increased amount of plectrum striking the string is required to create the
accent.
328 Galamian, Principles of Violin Playing and Teaching, p. 82. 329 Ibid
119
Movement between the strings aids the bounce of the bow with the movement being
created entirely with the bowing arm.330 This motion is similar in sweep-picking where
the movement between the adjacent strings is executed using the plectrum arm.
The three major problem areas with ricochet bowing are also mirrored in sweep-picking
and appear here in their sweep-picking counterparts.331
1. The plectrum requires the application of constant pressure; holding it with too
much pressure can restrict natural movement.
2. Utilization of the wrong part of the plectrum can adversely affect the desired
speed, pick angle and wrist angle and cause too much of the plectrum to strike
through the string.
3. The natural motion of the plectrum can be affected by incorrect tension in
either the string or plectrum grip. String gauge can play a large part in the fluid
motion of the plectrum across adjacent string-sweeps.
5.2.10 Summary
As was acknowledged at the beginning of this section, these are fundamental
observations and conceptual comparisons rather than absolute parallels. Comparisons
serve to facilitate a working knowledge of continuous bowing motions and how they
relate to their transcribed sweep-picking counterparts. The similarities between technical
problems and musical solutions can be arguably described as inherent to many stringed
instruments.
330 Galamian, Principles of Violin Playing and Teaching, p. 83. 331 “Trouble with the ricochet often occurs when one of three things is being done: (1) the bow is being held to tightly, (2) the wrong part of the bow is being used for the speed desired, (3) the natural bounce is being interfered with because of tenseness in the natural springs”. Galamian, Principles of Violin Playing and Teaching, p. 83.
5.3 Micro Elements
Scalic melody is prevalent throughout the Caprices and fundamental to the majority of
tonal music. This makes it an obvious point from which to examine the micro-elements
of sweep-picking.
One of the most efficient methods of playing scalic patterns within a static position is in
three-notes-per-string format,332 illustrated in Figure 6.
Figure 6
This shows how a basic ascending C major scale can fit into the framework of sweep-
picking. As has been discussed, the initial stroke moves in the same direction as the scale
facilitating the economized motion of sweep-picking between E and F and A and B.
Figure 7
332 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. ; Gilbert, Intense Rock, 1988.
120
5.3.1 Arpeggios
Due to their low note density per string, arpeggios have become synonymous with sweep-
picking. Figure 8 shows how sweep-picking can be applied to a simple triadic motif,
whilst illustrating economized plectrum motion.
Figure 8
The fluidity of motion needed for sweep-picking requires development in both upwards
and downwards directions. The focus of Figures 8 and 9 is to develop that exact motion,
whilst allowing the right and left hand to build up a rudimentary synchronization.
Figure 9
In contrast to Figures 6 and 7, sweep-picking across multiple strings creates a number of
problematic areas.333 The two motions required for Figures 8 and 9 respectively, are a
pushing and pulling motion.334 This motion presents the right hand with the challenge of
continuously and fluidly repositioning itself in order to retain the same plectrum angle
relative to the string. To achieve this effectively, both the elbow and the wrist must
function as one entity. The wrist must retain a consistent plectrum angle and dampening, 333 Gilbert, Intense Rock, 1988.
121334 Gambale, Monster Licks and Speed Picking, 1988.
whilst the elbow delivers the plectrum to its destination string(s).335 The more strings
that sweep-picking encompasses, the more prone arpeggios become to string noise and
plectrum inconsistencies, such as string tone variations and dampening issues.336
The combination of both upwards and downwards sweeping motion in Figure 10 allows
the right hand to develop the ability to reverse the direction of the sweep. This is done
with an even number of notes on the highest string.337
Figure 10
One of the fundamental abilities required when sweep-picking, is the capacity to alter the
direction of the sweep in a fluent manner. This gives the exponent of sweep-picking a
virtually inexhaustible technical arsenal that can be applied to most musical contexts.
Altering the direction of sweep-picking brings a number of problem areas into sharp
focus, an important one being that which occurs at the turnaround point. In the above
example, the E, where the turnaround occurs, is at risk of not being played for its full
duration if the plectrum does not move far enough from the string. Moreover, premature
anticipation of the turnaround point can result in the elbow not accurately delivering the
plectrum to the note previous to the direction change. The wrist then needs to alter its
335 Observed in Becker, The Legendary Guitar of Jason Becker, 2007. ; Gambale, Monster Licks and Speed Picking, 1988. 336 Gilbert, Intense Rock, 1988.
122337 Gambale, Monster Licks and Speed Picking, 1988.
123
angle in order to reach the desired notes, which can result in string tone inconsistencies
and incorrect note durations.
Practical application of the sweep-picking reversal can be seen in the extreme string-
skipping arpeggios of ‘Caprice No. 1’. Although, from a note range perspective Figure
10 is less extreme, it exhibits similar areas of concern.
5.3.2 Summary
Retaining the same plectrum angle relative to the string is a critical factor in achieving
string tone uniformity throughout melodic lines and arpeggios. The correct angle is a
result of accurate coordination between the right wrist and elbow. If other problem areas
such as note duration and synchronization are remedied at a fundamental level, technical
evolution should be relatively straightforward.
As has been shown, sweep-picking can be broken down into multiples of odd and even
notes per string; the odd notes facilitating sweep-picking whilst the even notes diminish
plectrum efficiency, all of which is reliant on the correct application of the initial stroke.
In order to take advantage of the plectrum efficiency that sweep-picking promotes,
exercises and musical phrases utilize odd numbered note groupings per string. For scalic
forms three-notes-per-string format is most commonly used, whilst arpeggios utilize
either one or three-notes-per-string.
In contrast to alternate-picking and other techniques, the development of sweep-picking
is more rapid in its technical progression relative to practice time.338 Sweep-picking can
338 Gambale, Monster Licks and Speed Picking, 1988.
124
often offer a more streamlined solution to complex melodic and harmonic musical
patterns.
5.4 Macro elements
5.4.1 Introduction
Examination at the micro level has revealed fundamental forms, issues and technical
minutiae from which sweep-picking as a technique can evolve. Sweep-picking's logical
evolutionary development beyond the micro level begins within the scalic framework.
Numerous in its applications within the Caprices, the techniques development has many
widespread musical applications beyond the music of Paganini.
As was noted earlier, the three-note-per-string pattern is one of the most efficient
methods of playing diatonic scales on the electric guitar. Generally speaking, sweeps
occur in the same physical direction as the scalic pattern. Both ascending and descending
versions require practice owing to their opposing physical motion.
5.4.2 Practical application for sweep-picking scalic figures
Figure 11 naturally expands on the scalic theme presented in Figure 6, doing so by
encompassing four strings in three-note-per-string format. Each subsequent string is
reached by means of the sweep from its previous counterpart.
Figure 11
One of the main techniques that Figure 11 addresses is right hand repositioning whilst
retaining the same plectrum angle relative to the string.339 Plectrum angle retention is the
main focus of this exercise, being accomplished through one of two methods, both of
which have equal merit. The first method is simply to reposition the hand at every new
string.340 This gives the guitarist the ability to retain a rigid plectrum hand position and
in turn minimizes string tone inconsistencies that may occur when employing a more
fluid position.341 However, having the right hand in a continual state of flux can make it
more susceptible to potential problems in the areas of dampening and superfluous string
noise.
Identification of the second method lies in the symmetrical patterns 342 that arise within
the tablature's fingering.343 The first three notes on the E string are mirrored on the
finger-board by the second three on the A string, with a different pattern being repeated
on the next two strings. This division provides a logical point where the right hand can 339 Observed in Frank Gambale, Chop Builder, The Ultimate Guitar Workout, Seattle: R.E.H. Publications Inc., 1994. 340 Observed in Gambale, Monster Licks and Speed Picking, 1988. 341 Ibid 342 String symmetry discussed and analyzed by Nick Bowcott, ‘The Guitar Lesson from Hell’. Guitar World, Vol. 12, No. 9, September 1991, pp. 58-59.
125
343 A similar method is used by Paul Gilbert for memorization of repeated finger patterns in consecutive octaves; Gilbert, Intense Rock, 1988.
be repositioned comfortably. As the repositioning takes place where the sweep occurs, it
is a simple matter of integrating both the repositioning and sweep-picking motion into
one continuous movement, to attain the new right-hand position.344
Figure 12 illustrates the exact opposite motion, with the initial stroke in the direction of
the scale in its descending form. In contrast to Figure 11, the sweep-picking motion that
is being developed is a dragging motion.345
Figure 12
In the ascending version lowering the palm onto the string can help to control the string
vibration.346 However, the descending version already has the palm resting on the
subsequent string prior to the plectrum arriving. This makes it relatively easy to then
release palm pressure in order for the string to achieve a degree of vibration when struck.
For this reason, some players find it easier to control the tone of descending rather than
ascending sweep-picking patterns.
344 Observed in Bouillet,. Improvisation for Progressive Hard Rock Guitar, 1989. 345 Gambale, Monster Licks and Speed Picking, 1988.
126346 Ibid
Within the framework of four strings, a minimal amount of plectrum hand repositioning
can be used. However, in order to utilize sweep-picking to its maximum potential, it is
necessary to expand the exercise to encompass six strings. Figure 12 illustrates where the
right hand must periodically change position in order to efficiently retain the plectrum
angle relative to the string.
Figure 13
There are a number of reasons for utilizing the specific scale in this position on the neck.
The natural symmetry of two-string groupings occurs when three-note-per-string scales
start on either the first or seventh degree of the diatonic scale. This aids finger pattern
memorization, thus allowing a less hindered approach when familiarizing oneself with
the physical sweeping motion required to traverse six strings of various gauges.
5.4.2 Summary
Although, within the Caprices this kind of six-string sweep-picking pattern never occurs
in its entirety, it is important to note that it does appear in varying degrees. At this
fundamental scalic level, the ratio of sweeps per note is relatively low. However, as the
technique expands to encompass arpeggios the ratio increases markedly.
127
128
rd to
5.5 Static position arpeggios
5.5.1 Introduction
Simply stated, static position arpeggios require no left hand position shifts, making them
an ideal vehicle for the introduction of sweep-picking.347 In contrast to three-note-per-
string sweep-picking patterns, sweeps per string in this format can often be a one to one
ratio spanning five or more strings.348 This provides the advantage of playing many
notes with one plectrum motion, with the articulation stemming from the left hand.349
Once developed, it can result in seemingly impossible speeds that are extremely ha
accomplish though alternate-picking.350 Therefore, in many musical contexts sweep-
picking surpasses any other techniques, for both ease and speed of execution.
5.5.2 Three-string triads
In one of its simplest forms the chordal arpeggio appears as a three-note triadic figure,351
which is illustrated in Figures 14 and 15 in both ascending and descending forms.
347 Observed in Gambale, Monster Licks and Speed Picking, 1988. 348 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 349 Frank Gambale, Monster Licks and Speed Picking, 1988. 350 Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 351 Observed in Marshall, Yngwie Malmsteen’s Style, 1986.
Figure 14
‘Caprice No. 22’, bar 30
Figure 15
‘Caprice No. 22’, bar 27
Although the obvious characteristic of this form of picking is the singular motion
required, less evident are the musical possibilities that can be derived from this
technique.352 Largely diatonic, the Caprices utilize triadic forms in various finger
patterns for both position transitions and chromatic modulation. 353 However, they still
352 An example of which can be heard in ‘Serrana’, Jason Becker, Perspective, Warner Bros, 23018, 1996. 353 Heard in ‘Demon Driver’, Malmsteen, Eclipse, 1990. ; Stump, Arpeggio Lesson Volume 1, 2003. ; Malmsteen, Masters Series, 1991.
129
retain a basic sweep-picking cohesion that can be traced directly to the fundamental
structure represented in the aforementioned musical examples.
Tonally “weaker” when viewed from a harmonic perspective, Figure 16 provides an
elementary fingering pattern to begin triadic sweep-picking development.
Figure 16
At this fundamental stage there are a number of areas of concern that Figure 16 raises.
These must be addressed correctly as they have far reaching ramifications for successful
future development.
Two issues arise when addressing the sweep-picking motion of Figure 16, one of the
most important of which is the development of a correct sweep-picking motion. The
significant increase in the ratio of sweeps-per-string when discussing arpeggios, creates
the need for continual readjustment of the right-hand position throughout the sweep
portion of Figure 16.354 Interlinked with this is the secondary issue of pushing the
plectrum past the optimal point needed in order to execute the non-swept notes on the
high E string.
130354 Observed in Frank Gambale, Modes: No More Mystery, New York: D.I.C. Publication, 1991.
Another issue relates to the plectrum strokes enclosed in brackets. These represent a
secondary option in order to facilitate the upwards sweep on the final two notes. By
ending the first sweep one note sooner, the exercise takes on a more symmetrical form,
beginning and ending with two swept notes in opposite directions.355 This interruption to
the sweep-picking motion in order to strike the third note can increase the difficulty level
at this point. However, it facilitates the second sweep which can increase overall speed.
An illustration of why a symmetrical plectrum stroke is important to develop occurs in
‘Caprice No. 5’, shown in Figure 17.
Figure 17
‘Caprice No. 5’, Bars 47-49
This issue brings to the forefront an important point, illustrating from a technical
perspective, how the second part of a phrase can often influence the execution of the first.
Within the basic diatonic scale, there are three main types of triadic patterns, the
minor,356 the major, 357 and the diminished.358 All three are prevalent throughout the
Caprices making familiarization with them essential to the playing methodology. Within
a static position on the fret board, cycling between three positions is possible, whilst
utilizing the same sweep-picking pattern introduced in Figure 16.
355 Similar in principle to the arpeggio technique seen in Meola, Masters Series, 1991. 356 Don Mock, Artful Arpeggios. Milwaukee: Hal Leonard Publishing Corporation, 1977, p. 16. 357 Mock, Artful Arpeggios. 1977, p. 15.
131358 Mock, Artful Arpeggios. 1977, p. 18.
Figure 18
When progressing from A major to A diminished in this style of cyclic pattern, the
position movement occurs in semitone increments. The incremental position shifts stem
from simple tonal alterations to the arpeggios.359 A major to A minor involves a
flattening of the third which, in this case, means the C sharp on the 9th fret moves to the C
natural on the 8th fret. When A minor changes to A diminished the bass note and its
octave counterpart both descend a semitone.
The optional bracketed fingering within the A minor arpeggio is relegated to an optional
status for a number of reasons, the first of which is its utilization of different finger
combinations from its previous arpeggio counterpart. The difficulties that arise through
alternating the first and second finger on the same bass note can be problematic.
Introducing this secondary element requires additional coordination, which at this
fundamental stage, can divert the developmental focus from sweep-picking motion.
Another reason for this kind of relegation is that in subsequent expansions of this
technical idea, the bracketed fingering becomes exceedingly awkward. As mentioned
earlier, previous and subsequent notes often influence immediate sweep-picking patterns;
at present, however, the bracketed plectrum strokes can be adequately utilized. This form
132359 Observed in Stump, Arpeggio Lesson Volume 1, 2003.
lends itself to a plethora of variations based around triadic patterns and their inversions
that occur throughout the Caprices.
Figure 19 illustrates the different inversions and their positioning on the guitar neck
within the key of A minor.
Figure 19
Combining fingering alterations learnt in Figure 18 and the different inversion positions
of Figure 19, it is possible to design an exercise that covers each variation. Figure 20
utilizes the three different triadic forms in three respective positions on the fingerboard,
along with a number of finger-barrés.
133
Figure 20
Individual components and the points of interest will be discussed in the order in which
they unfold. The finger-barrés that appear in the root position of the C major chord are
optional for future development purposes. As in Figure 18 the natural extension of the
arpeggio leads to optional finger-barrés becoming indispensable. The only other place
where optional fingering occurs is the C minor arpeggio in its second inversion. 360
This sweep-picking pattern can be easily moved around the guitar neck, covering the
triadic root position, first inversion, or second inversion arpeggios, whilst utilizing the
same plectrum pattern.361
360 Observed in Malmsteen, Masters Series, 1991. ; Stump, Arpeggio Lesson Volume 1, 2003.
134361 Ibid
135
5.5.3 Dominant seventh and diminished seventh
Obviously, simple triadic chords are not the only harmony used within the Caprices. The
dominant seventh and the diminished seventh play a pivotal roll harmonically, especially
at modulation and cadential points. Therefore, the ability to apply the previous sweep-
picking technique to all altered chords is equally valuable.
From the musical theorist’s perspective, the diminished-seventh chord can be described
as a dominant ninth without the root note.362 Figure 21 illustrates how this important
harmonic relationship between the two chords can be used in the sweep-picking formula.
362 Wikipedia, ‘Diminished Seventh’, http://en.wikipedia.org/wiki/Diminished_seventh; accessed 22nd May, 2007. ; Dr Tom Pankhurst, ‘Short Progressions’, http://www.tonalityguide.com/xxdim7.php; accessed 22nd May, 2007.
Figure 21
As well as the all-important dominant seventh and diminished seventh chords, Figure 21
utilizes major and minor seventh arpeggios. On examination, both the C maj7th and G
dom7th fingering technique bear a striking resemblance to one another as do the B dim7th
136
and the D min7th. This commonality gives the guitarist the ability to choose the most
economic fingering technique when approaching these kinds of arpeggios.
5.5.4 Three-string sweep-picking summary
It is superfluous to illustrate the plethora of altered chords and their resulting inversions
that can be adapted to fit this single sweep-picking pattern. Suffice to say, it can be
adapted with relative ease to serve almost any altered chord and its inversions.
Throughout the Caprices the three-string sweep-picking pattern has been utilized in a
variety of musical contexts and therefore must be mastered prior to practical application.
5.5.5 Five, six and seven-string sweep-picking
The natural evolution of this technique is its expansion onto more sets of strings, a typical
example of which is illustrated in Figure 22.363 This D major arpeggio epitomizes the
simplicity of sweep-picking, whilst exemplifying in form and technique an arpeggio
typical to the Caprices.
Figure 22
‘Caprice No. 16’, bar 8
137363 Moore, Advanced Lead Guitar Techniques, 1987.
The fundamental technique exhibited in Figure 22 can be expanded on. Figure 23 is a
realization of that expansion, covering the major, minor and diminished chords in root
position.364
Figure 23
A number of problematic issues arise with the addition of more strings into the sweep-
picking equation. One of the foremost problems that can become a fundamental technical
flaw is the rushing of the sweep component of the arpeggio.365 This needs to be kept in
check to prevent note duration, string tone and timing from being impaired on longer
sweeps.366
5.5.6 Combining sweep-picking and alternate-picking
Very seldom does sweep-picking occur in total technical isolation; therefore, the
facilitation of an alternate-picking component becomes imperative for its natural
expansion. However, the problems of continuity (both physically and musically) when
switching between the two techniques, as in the case of Figure 23, is concerning. The
key component is to position the right hand correctly at the end of the sweep so as to be
in the optimum position.367 Although highly subjective, the optimum position can be
364 Moore, Advanced Lead Guitar Techniques, 1987. 365 Gambale, Monster Licks and Speed Picking, 1988. ; Gilbert, Intense Rock, 1988. 366 Gilbert, Intense Rock, 1988.
138367 Observed in Gilbert, Intense Rock, 1988. ; Becker, The Legendary Guitar of Jason Becker, 2007.
139
ring
e
be used.
most accurately defined as that in which the correct plectrum angle can be attained
relative to the string. Unobstructed access to the optimal position for the individual can
only be gauged through long practice and extensive experimentation with string tone.
Musical conditions can dictate that the optimum right hand position is deliberately
subverted in favour of string tone and dampening. An example of this which occurs
regularly is pushing the plectrum hand past its optimal position, in order to facilitate a
more heavily dampened percussive string tone. There are also other occasions where
stopping short of the optimal plectrum position relative to the string angle occurs, forcing
the wrist to twist in order to reach the remaining notes. This can happen for a variety of
reasons, a common one being the proximity of notes of extreme range to the main
melody. Notes at the upper or lower extremities of a melody can sometimes be reached
most economically by twisting the wrist rather than by hand relocation.368 This
technique is more difficult, as it requires a reorientation of the plectrum angle by the
fingers in conjunction with the twisting wrist, to retain plectrum angle consistency.
Another issue that arises when utilizing this technique is the problem of controlling st
tone and dynamics with the palm out of position. When the note in question is in th
upper register, string tone to a degree can be controlled utilizing the fourth or third
fingers of the right hand.369 Conversely, when the note is below the main melody, part of
the thumb or the palm directly below the thumb can
Figure 24 is an extract that encompasses the aspects discussed above relating to notes
with extreme range differences within the Caprices.
368 Observed in Gilbert, Guitar Techniques, 2006. ; Gilbert, 100% Racer X, 2001. 369 Meola, Masters Series, 1991.
Figure 24
‘Caprice No. 16’, bar 50
The ability to reach the notes while retaining string tone consistency370 is an effective
tool for combating some of the extreme fingerings that occur within the Caprices.
The Caprices utilize many five-string arpeggios, most of which can be broken down into
the following fingerings and sweep-picking techniques. Figure 25, illustrates the second
main fingering for five-string arpeggios in root position.371
Figure 25
370 Observed in Meola, Masters Series, 1991.
140371 Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989.
141
.376
There are two methods of fingering five-string arpeggios in root position, the first
indicated in Figure 23.372 In this example, all the notes fingered are below the first note
on the headstock side of the fingerboard; consequently, they all begin with the fourth
finger. However, Figure 25 demonstrates the extra range that can be achieved by playing
all the notes in the arpeggio above the initial note.373
Conspicuous by their absence in Figure 23, finger-barrés are a necessity to reduce
plectrum movement where the reordering of notes creates consecutive string motion.374
Although optional in the C major chord, the finger-barré can be executed with either the
second or third finger, as opposed to the C minor chord, where the given fingering is the
most viable option.
The success of this type of sweep-picking is dependent on the correct execution of the
alternate-picking component. This occurs on the initial and final stroke of each arpeggio
and the high E string. Whilst invariably opposed in direction to that of the remaining
notes, the alternate-picking stroke promotes economical plectrum motion. However, the
alteration of the initial stroke375 must be balanced at the other end of the arpeggio in
order to promote a seamless flow from one triadic figure to another
The balancing of the equation leaves the three-note-per-string alternate-picking section
on both the top and bottom of the arpeggios. Although, this could be made more efficient
372 Moore, Advanced Lead Guitar Techniques, 1987. 373 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. 374 Ibid 375 Ibid 376 Observed in Gambale, Monster Licks and Speed Picking, 1988.
by using an even number of notes at the turn around point,377 the three notes at the top of
the triadic figure more successfully mimic the arpeggios used with the Caprices. It is at
these points that note duration and string tone can alter which is often symptomatic of a
larger technical problem; the inability to change fluidly and instantaneously between
techniques making the actual shift aurally imperceptible. There are four points of
concern in Figure 25:
1. The beginning of the alternate-picking section at the top of the arpeggio
2. The beginning of the downward sweep
3. The beginning of the alternate-picking section at the bottom of the arpeggio
4. The beginning of the ascending sweep-picking motion
Figure 25
To a degree, the plectrum hand is susceptible to incorrect positioning at these changeover
points. However, the problem can arise from a combination of incorrect plectrum angle
and hand positioning, which is easily rectified with increased vigilance at these points.
The arpeggio turn-around figure, illustrated here in Figure 26, appears throughout the
Caprices.
142377 Gambale, Monster Licks and Speed Picking, 1988.
Figure 26
‘Caprice No. 24’, bar 153-154
Figure 27 illustrates a G major chord and its principal inversions utilizing the two
different sweep-picking patterns discussed.
Figure 27
There are a number of points of interest within this exercise that require further
explanation. The first occurs within the first two notes of bar 5, utilizing the third finger
for the finger-barré rather than the more obvious fourth finger. The motivation behind
143
144
this decision is similar in nature to the optional finger-barré of Figure 20 which is based
on the subsequent technical expansion.
Also requiring explanation is the fingering options of bar 6, with the ossia staff offered as
an alternative for the confined fret area on that part of the fingerboard. Due to the close
proximity of the frets in that area of the fingerboard, the alternative fingering may be
more useful for people with longer fingers.
5.5.7 Five-string arpeggios summary
The five-string sweep-picking arpeggio is the intermediary step between larger hand
movements and the smaller three-string sweep-picking technique. The ability to move
the hand accurately across a large numbers of strings, whilst incorporating alternate-
picking where required, is essential if further technical facility is to evolve. This
technical requirement is fundamental to successfully tackling the least demanding static
position five-string arpeggios that occur within the Caprices.
The kind of plectrum patterns that are shown in Figures 25 and 27, are indicative of the
sweep-picking patterns found throughout the transcriptions. Technical combinations,
turnaround techniques and their corresponding issues have been covered, in addition to
the basic five-string triadic shapes and their inversions. This being the case, transposition
on to different groupings of strings should be relatively straightforward, paving the way
for a further expansion into six and seven-string sweep-picking.
5.5.8 Six and seven-string arpeggios
In order for this technique to evolve whilst remaining within the confines of a static
position, the lower two strings must be added. Figure 28 and 29 illustrate two examples
of six and seven-string static position arpeggios found within the Caprices.
Figure 28
‘Caprice No. 24’, bar 148
Figure 29
‘Caprice No. 24’, bar 153
Figure 30 retains the established norms, being an alternate-picking component on both
the highest and lowest strings, with the remainder between the turnaround points
consisting of sweep-picking.
145
Figure 30
The addition of a major 9th note (B natural) and the accents are solely to aid in the
retention of a solid tempo throughout, something commonly overlooked with longer
sweeps.378 Although the accents occur on every beat of the bar, only beats one and three
are defined accents, with beats two and four being implied accents.
Unlike Figure 30, which outlines a standard minor/major barré-chord shape, Figure 31
can be viewed as a singular shape or as two parts, each of which employ different
arpeggio patterns.379
Figure 31
However, due to the seven-string range of the arpeggio, the fingering is different,
although the actual notes on both parts are the same. The first three notes are a derivative
technique explored in Figure 30 whilst the remainder is indicative of Figure 23.
378 Gilbert, Intense Rock, 1988.
146379 Observed in Gambale, Monster Licks and Speed Picking, 1988.
Still classed as a static position arpeggio, the altered fingering necessitates a subtle
pivoting motion in order to retain the correct fingering position relative to the strings.380
Although this movement is required by the thumb, its actual placement on the neck
should remain unchanged.
Figure 31 utilizes exactly the same finger usage with subtle stretching alterations to
accommodate the change from the minor to major third. These shapes appear in root
position whilst utilizing the same fingering, making them both easier to learn and
remember as well as being transferable to any position on the neck.
Figure 23 illustrates how a diminished triad in root position can be inserted into this
plectrum formula whilst still retaining the same plectrum turnaround points and sweeps.
Figure 32
Although similar to Figure 31, a slightly more extreme pivoting motion on the thumb in
the left hand is required, this being largely due to the two whole tones between frets 12
and 8. In this case optional fingering is provided, to both simplify and retain a consistent
spacing between the 10th and the 8th fret.
147380 Observed in Gambale, Monster Licks and Speed Picking, 1988.
In many places throughout the Caprices, altered chords play an equally important role,
especially in single-note melody. Therefore, the ability to manipulate the technique of
sweep-picking in order to play these altered harmonies must be addressed. Figure 33
illustrates how in the first two bars the same plectrum pattern in Figure 32 can be
employed, then in the second two bars how the order of notes can be altered.
Figure 33
In the first two bars, the addition of the 11th note to both the minor and major seven-string
sweeps is made more striking by its placement at the highest point of the arpeggio. Being
positioned at both the middle and highest point allows the first three notes of the arpeggio
to establish the triadic harmony, without itself being altered.
In the first two bars, the 11th note replaces the third in the middle and upper octave of the
arpeggio; in the second two bars, however, it appears in addition to the third.
This being the case, a natural evolution of the plectrum technique is required in order to
fit all the notes into the established static arpeggio framework, illustrated here in Figure
34.
148
Figure 34
The consequence of this extra note adds an alternate-picking component to the sweep-
picking strokes which in turn has two slightly different approaches. A valid argument can
be made that the optional plectrum strokes are the more efficient, mirroring in motion the
first two notes of the arpeggio. The given plectrum strokes create the longer sweep with
the slightly more difficult movement of striking the D note with an upstroke, lifting the
plectrum over the D note and continuing on with the sweep.
An alternative bracketed fingering option can be used to prevent the wrist from twisting
out of position on the larger stretches, between the D and the E note with the third and
first finger.381 For guitar players with smaller hands the stretch can be more difficult,
which in turn can force the wrist out of position.382 Therefore, using the fourth instead of
the third finger on the D note can make the gap more manageable. The relevance of this
becomes more apparent the further down the neck the arpeggio pattern travels.
Figure 35 illustrates how, by manipulating the plectrum technique, it is possible to
include diatonic non-triadic notes from the tetrachord, giving a jazz style harmonic
ambiguity to the arpeggio.383 Subtle colouring can be created, by placing the seventh
381 Gambale, Monster Licks and Speed Picking, 1988. 382 Ibid
149383 Ibid
note in the middle of the arpeggio, flanked by strong triadic harmony in the lower and
upper octaves. As sweep-picking speed increases, the notes on the upper and lower
extremes become more aurally apparent, making the positioning of non-triadic notes
relevant.
Figure 35
The alternative fingering in this exercise can aid the hand in avoiding any twisting which
can occur during this type of exercise. When playing the finger-barré with the second
finger this issue manifests itself more commonly in guitarists with a smaller finger
spread.384
Figure 35 consists of two different styles of plectrum pattern, both of which exhibit
similarities in the positioning of the alternate-picking component. The plectrum
technique in bar 1 is reminiscent of bars 3 & 4 of Figure 33, whilst the second bar differs
from the established norm by means of a single note on the E string.
The relevance of fitting this style of arpeggio into the already established plectrum
patterns, gives the guitarist the ability to target any non-harmonic melody notes, within a
static position during sweep-picking. Technical modification then requires nominal
150384 Gambale, Monster Licks and Speed Picking, 1988.
effort to target chromatically-altered harmony notes, chromatic passing notes and
groupings of non-diatonic harmony notes.
The key factor in reaching these non-triadic and non-diatonic harmony notes is the
position of the alternate-picking component. In the first bar, the alternate-picking
component is positioned on the E, D and high E string, whilst in bar 2 it occurs on the A,
G and high E string. It is the range of harmonic alterations that can be reached using the
same plectrum pattern, that make this technique valuable.
Figure 36, extracted from the above example, shows how it is possible to reach the
seventh, octave, major ninth, minor ninth and even the ability to reiterate the third by
stretching the fourth finger up to the 14th fret. All these alteration can be achieved using
the same picking pattern.
Figure 36
Figure 37 is an example extracted from the Caprices, illustrating how this takes place in a
real musical context.
151
Figure 37
‘Caprice No. 11’, bar 63
With a few alterations to notes and fingerings, it is possible to access alternate harmonic
directions, without affecting the plectrum technique. The second bar demonstrates how,
by canceling both the E flat and G flat, it is possible to convert the same passage into an
A minor seventh chord.
The final two bars demonstrate how by chromatically altering the harmony whilst
retaining the plectrum motion, it is possible to shift the harmonic centre thus facilitating
modulation. By flattening any note of a diminished-seventh chord, that note then
becomes the root of the dominant chord of the new key, in this case E. This simple
modulation technique, in addition to basic chromatic alterations, widens the scope of keys
to which one can move. Although rhythmically inappropriate, the examples exemplify
the benefit of developing the ability to access other notes outside the arpeggio without
changing the plectrum motion.
Although only a few examples of altered chord shapes have been explored from a
technical perspective, they have rendered the technical repertoire required. Although, a
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plethora of other altered chord shapes exist, their performance can be treated as an
adaptation or natural evolution of the now evolved sweep-picking technique.
5.5.9 Static position arpeggio summary
Utilizing the given exercises in their entirety or in part reveals the tools needed to deal
with the static position arpeggios that appear within the Caprices. However, during the
course of this part of the chapter, a number of interesting technical issues regarding
choice have arisen.
Throughout this section, the concept of previous or subsequent arpeggios or groupings of
notes which influence immediate plectrum strokes has become more apparent. This
musical imperative, echoed throughout the transcriptions of the Caprices, is reflected in
the exercises. How, where and why plectrum motion is altered is also a major theme
throughout and one that continues in the subsequent chapters. Many of the technical
solutions are subjective in nature, necessitating alternative plectrum strokes and fingering
where practical.
With the addition of alternate-picking components, another variable was added to the
technical solution expanding the scope of choices offered. However, its addition
emphasizes the symbiotic relationship between the two plectrum methods in practical
playing contexts. Through alternate-picking, the access of chromatically altered non-
harmony notes widens the range compass of harmonic possibilities while retaining a
practical sweep-picking framework.
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5.6 Linear motion
5.6.1 Introduction
In order for the technique to further develop, it is necessary to widen the scope of sweep-
picking arpeggios to include linear motion. It is important to outline the reasons why
linear motion would be more suitable than a static position arpeggio.
5.6.2 Incremental motion
Using linear motion on the guitar neck gives the guitarist the ability to move
incrementally either up or down the neck in order to cover the musical range.
Incremental movement can be more practical physically by eliminating large leaps,
reducing the danger of excess string noise or poor string tone and incorrect note
duration.385
Figure 38 shows two different solutions for the same arpeggio position, demonstrating
how, in this case, incremental motion can alleviate large leaps by the fingerboard hand.
By moving in a gradual linear fashion across the fingerboard, the new target area is
attained by the first finger moving from the 10th fret to the 12th fret, a relatively small
distance.386 This is in contrast to the static position arpeggio that requires the first finger
to move from the 5th to the 12th fret, which at relatively faster speeds is impractical. By
alleviating large leaps in the left hand, tension in the melody can be minimized, resulting
in a much more fluid sequence of notes.
385 Observed in Stump, Arpeggio Lesson Volume 1, 2003. 386 Observed in Meola, Masters Series, 1991.
Figure 38
Another major difference between static position and incremental motion is the degree
that the string tone changes.387 In the above example, the static position arpeggio cycles
through many strings, usually one per note. This can change the string tone abruptly
from one colouring to another. In the incremental motion, string tone alters in a more
uniform and less rushed manner, delivering an altogether smoother-sounding arpeggio.
The abrupt tone changes or lack thereof can be used either to draw attention to a certain
passage, or in the case of incremental motion, can assist the passage to sit more
inconspicuously in the overall phrase.
By its very nature, incremental motion often uses the same kinds of fingering patterns
between groupings of strings, making it extremely easy to learn arpeggios with an
increased range. The downside however, is the need of the player to memorize more
complicated sweep-picking plectrum patterns, as in the above example.
5.6.3 Symmetrical motion
Figure 39 demonstrates how the principle of linear motion can be expanded to include the
three main diatonic triads, in three different fingering shapes.388
387 Observed in Malmsteen, Masters Series, 1991.
155388 Stump, Arpeggio Lesson Volume 1, 2003.
Figure 39
Cursory examination reveals the similarities between the three triadic figures; all are
based upon a similar plectrum and note pattern. An important part of incremental motion
is the actual physical movement required by the left hand.
As these triads are all in root position, it is the correct positioning of the root of the chord
that will determine the success of the position shift. The remaining fingers are placed
relative to the root, in this case, the second, first and fourth fingers respectively.
The incremental movement between positions is a major second or minor third, obviously
the smaller the gap covered by the left hand the more time can be allowed for the
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movement. The position shift requires more time and preparation than a normal static
position arpeggio. The new position must be attained before the next note is sounded,
without the notes prior and subsequent to the shift being disadvantaged in any way.
However, this is no different to a normal position shift on the guitar, which requires
timing and coordination to be executed correctly. This raises the issue of where the
position shifts should be placed?
5.6.4 Asymmetrical overlapping movement
In Figure 39 the shifts are positioned symmetrically, however, it is often prudent to shift
positions on different notes. Where the incremental position shift takes place is highly
subjective, being dependent on many variables. There are various reasons to shift position
ranging from the presence of a simple opportunistic pause in the music to the plectrum
stroke being in the optimum position to facilitate that motion. Figure 40, illustrates how
incremental motion can occur independently of plectrum strokes with the exercise using
an unchanging plectrum pattern. In addition, it shows a number of diverse methods of
approaching position shifts with various fingerings on the same arpeggio.
Figure 40
Although plectrum strokes do not often affect position shifts, position shifts can dictate
fingering choice. This being the case, the distance that the left hand needs to travel up
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the guitar neck to change position whilst retaining an optimal fingering position, can vary
dependent on finger choice. For example, in the first bar, the second position shift is
executed by moving the first finger from the 5th to the 9th fret, requiring substantial
movement. In bar 2 the first position shift requires the first finger to be moved a second,
which is an octave above the previous note and a relatively small movement.
When position shifts occur on consecutive notes, it is often prudent to make one less
substantial than the other. In bar two, the first shift is much smaller than the subsequent
movement. Making two large position shifts in rapid succession can be problematic at
extreme speeds, with evenly spaced shifts preferable.
The derivative nature of Figure 41 shifts the scope of incremental motion from technical
theory into the realms of a practical playing context.
Figure 41
By extracting the main melodic patterns of ‘Caprice No. 5’ in their original positions, it is
possible to manipulate the fingering to create small movements towards the second
octave at the 12th fret. Through a gradual transition, the first finger acts as a motion
catalyst, with its movements shown in the ossia staff. This type of opportunistic
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manipulation of fingerings can help reach a new area on the finger-board, as in this case
the 12th fret.
By moving in this fashion, a more gradual string tone change can be cultivated as the
strings get shorter, creating a higher string tension. This eliminates the abrupt timbral
change, which is often associated with an instantaneous position shift of this size. Palm-
dampening can also go through a more gradual transition as the positions change,
enhancing the overall smooth feel of notes in the first two bars.
However, because of the change between round wound and flat steel strings, the
transitional stage between the second and third bar can be more abrupt. This being said,
relaxing the grip on the plectrum and allowing it to be more passive when striking the
strings, can help to a certain extent.
The alternate-picking and sweep-picking combinations are difficult to master throughout
the Caprices with no discernible pattern to their use. Wherever possible, sweep-picking
has been employed to optimize picking motion. The disadvantage of this approach is a
more practical but less uniform plectrum flow.389
Before expanding on the theme of position shifts in conjunction with sweep-picking, it is
necessary to place the idea into a technical context.
389 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989. ; Romeo, The Guitar Chapter, 2000.
Figure 42
‘Caprice No. 5’ bars 13-14
Figure 42, not only illustrates where it has been used, but to what extent the development
must reach in order to be musically usable within the Caprices.
5.6.5 Alternate transitional fingers
There are a number of techniques that are brought into focus requiring a certain style of
exercise that targets these specific individual aspects. In contrast to Figure 41 where the
position shifts revolve around the relocation of the first finger, Figure 43 illustrates how
the other three fingers can also be used.
Figure 43
Within any one overlapping position shift, there are usually a number of transitional
points where the left hand can change position; these can vary in degree of difficulty.
The defining factor in establishing the degree of difficulty in any position shift is mainly
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dependent on the relocation of the transitional finger. The transitional finger can be
described as the finger that frets the first note of any phrase in its new position. The
relative positioning of other fingers is dependent on this finger attaining correct
placement.
Seen here is the main transition and alternative transition points, the alternatives are
marked with bracketed fingering. It can be argued that the main transition can be
approached with a slide, as the first note of the new position is fretted with the same
finger as the last note of the previous position. However, each note should sound
independently making no discernible sliding or fret noise between pitches.
The overlapping nature of these position shifts provides an alternative transitional area
whose difficulty revolves around the need for two simultaneous actions; the sliding
motion390 and the reshuffling of the fingers. Both of these motions must occur whilst the
left hand is moving to its new position.391 As the transitional finger toggles between two
and three in the first two position shifts, the added variable can initially create
coordination difficulties. These coordination issues can sometimes be resolved by
utilizing a combination of both transitions. In turn, this expands both the flexibility and
diversity of options that can be customized according to personal preference.
Irrespective of which transitional finger is used, the sweep-picking pattern remains
constant with only one alternative plectrum stroke required. The arrangement of four
390 Greg Howe, Hot Rock Licks, Seattle: R.E.H. Publications Inc., 1989. 391 Observed in Howe, Hot Rock Licks, 1989.
notes on the high E string eliminates any convoluted plectrum choice, allowing the focus
to be firmly on position shifts.
5.6.6 Multiple transitions
In order to increase the range of options available to the guitarist, the ratio of notes per
position shift needs to decrease. In order to stay within the plectrum framework
established in Figure 43, additional position shifts on the lower extremities need to be
employed as in Figure 44.
Figure 44
From the protocol developed in Figure 43, a letter has been assigned to both the main and
the alternative transitions. This refers to the difficultly factor; A being the easier and C
the more difficult. Symmetrical plectrum motion makes the main transitions relatively
unproblematic, with B presenting the option of one position shift. This economical
motion is achieved by remaining in one position for double the length of time. However,
the resulting fingering utilizes larger stretches and a more intricate finger pattern.
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163
Although the numbered bracket shows clearly the transition points, in reality, many of the
alternatives move in a more gradual motion. A good example occurs between the first
and second positions in A of the alternative transitions, where the fourth and first
exchange positions. At this point the proximity of the two fingers is only one fret apart,
moving from the eighth to the seventh fret. However, the hand opens out in a concertina
motion in order to reach the D with the fourth finger. In reality this provides a more
gradual transition than is implied by the notation. By developing this style of contraction
or expansion of the fingering, the guitarist has the ability to smooth position movement,
making it less acute and inaudible.
Unlike the other transitions, the B alternative employs five different movements utilizing
a slightly different approach. By using the first finger as the transitional finger between
the second and third positions, the first finger moves in the opposite direction to the rest
of the exercise. By expanding the finger spacing, it is possible to utilize this opposite
motion to make an otherwise large transition easier.
Figure 44 illustrates that in reality a position shift can occur at any given time, some,
however, being more suitable and less audible musically than others. Although less
uniform with more intricate fingerings than the main transitions, exploration and
development of the alternatives reveals a number of unique solutions.
In order to contextualize and expand upon the current technical line of investigation,
musical examples displaying a derivative nature can be utilized. Figure 45 exhibits
typical linear motion for an arpeggio, from which the raw material can be used to design
a number of related musical exercises.
Figure 45
‘Caprice No. 20’, bars 50-52
Extracting the harmonic content and essence from the aforementioned exercise, renders
the material required to expand the range whilst retaining the cadential characteristics.
Figure 46, utilizes identical inversions with uniform sweep-picking and transitional
motion. The latter incorporates an alternating E string transition from three to four notes.
Figure 46
Although keeping within the concept of linear motion and sweep-picking, the
prolongation of the harmonic rhythm through E sharp diminished 7th, F sharp major, F
sharp major with E natural in bass, B minor first inversion, E minor, E sharp diminished,
B minor second inversion, F sharp major, focuses on continuously changing alternate-
picking patterns at transition points. It does this whilst expanding sweep-picking to
164
encompass more strings. At these points, alternate-picking cycles from three-two to four-
two, repeat themselves over a consistent positional movement and rhythmic pattern.
In conjunction, the bass note introduces linear movement in both directions on the neck,
as opposed to one continuous direction which has previously been the case. This
continually changing sweep-picking theme is echoed in the different combinations of
transitional fingers, an aspect that more closely resembles practical caprice fingerings.
5.6.7 Nonoverlapping linear motion
Thus far, the scope of development has been focused on position shifts with overlapping
components, with both positions having frets in common. However as Figure 47
illustrates, it is both practical and necessary to be able to move between positions that
have little or no common frets.
Figure 47
‘Caprice No. 20’, bars 27-28
An arpeggio that provides an unobstructed focus on non-overlapping position shifts is the
diminished seventh chord.392 Figure 48 illustrates the uniformity in fingering, position
movement, transitional fingers and plectrum motion, which the diminished seventh
provides. This allows an uninterrupted focus on the larger position movements.
165392 Marshall, Yngwie Malmsteen’s Style, 1986.
Figure 48
Due to the tonal ambiguity of the diminished seventh chord and the tuning of the electric
guitar, the chord appears in exactly the same shape irrespective of which note is the root.
This uniformity is mirrored in position shifts, with the even plectrum stroke
denomination at transition points providing smooth, economical plectrum motion.
Notes subsequent to position shifts, regardless of transitional fingerings, are situated
relative to the first finger. Consequently, all notes are played in front of this finger.
However, the fourth finger assumes both the anchor and transitional finger role, dictating
relative subsequent fingerings and creating potential areas of concern.
Becoming accustomed to using the fourth finger to change positions down the neck can
be awkward as it is often the domain of the first or second finger. This can create a
tendency to overshoot the target area with either the thumb or the fourth fingers, a
problem that can to some degree be alleviated though accurate synchronization.393 Each
new position begins with a down-stroke on the fourth finger. This gives the exercise a
commonality that can be synchronized with position movement whilst correcting any
placement issues. With so much activity revolving around the sequential transition
166393 Gilbert, Intense Rock 2, 1991.
movement of the fourth finger, it is important to retain an awareness of correct note
duration at these points.
Figure 49 illustrates through constant diatonic linear movement, the range and scope of
motion that can be achieved by cycling through triadic inversions.
Figure 49
One of the noticeable differences from the previous exercise is the changing string
tension, which can require an incremental alteration of the plectrum grip. As the string
becomes shorter in area of vibration, the movement from the point of equilibrium is
reduced which can require a more malleable plectrum grip when striking the string. By
offsetting the plectrum grip with the changing tension, the overall movement of the string
remains constant, averting the need to re-adjust constantly the palm-dampening pressure.
In addition to this benefit, string tone uniformity can also be preserved throughout, whilst
alternative plectrum strokes can be utilized to further refine picking motion. Plectrum
strokes can be synchronized with the linear movement of the transitional finger.394 The
bracketed alternative provides an opportunity for an accented down-stroke on the first
note of each beat.
167394 Gilbert, Intense Rock 2, 1991.
5.6.8 Larger string groupings
Diatonic linear motion is not restricted to the top three strings. In order to expand this
idea more strings must be added. Although Figure 50 is the same A minor arpeggio as
the previous exercise, the addition of more strings gives the arpeggios an expanded range
in one position. Consequently, the need for positional movement is reduced in order to
gain extra notes.
Figure 50
A cursory observation of this form reveals similarities with a number of the patterns
found in the Caprices, most notably in the final section of ‘Caprice No. 24’. However,
whilst the general contours of the arpeggios are similar, the linear motion is based around
three A minor triads, all of which are in root position. The irregularity of the position
shifts is reminiscent of a realtime playing context, where the motion is dictated largely by
the surrounding bars (string tone and other considerations notwithstanding).
These irregularities are mirrored in the transitional finger motion and, as in the previous
exercises, require synchronization with the down-strokes.395 The uniformity this
provides helps the left hand accurately locate the first note of the new position, with the
subsequent fingers following suit.
168395 Gilbert, Intense Rock 2, 1991.
169
With this kind of arpeggio displaying so many variables, it is important to remember that
although they require discussion as separate entities, none functions independently.
Plectrum pressure, palm dampening, string gauge, string elasticity and tension, dynamics
(how hard the string is struck) and how much of the plectrum is used, are variables that
change in relation to neck position. Each of these variables has acceptable extremes
which are dictated by the music. In-between these parameters certain aspects of these
variables can be used to exaggerate, complement, or “tame” other variables. For
example, using an excessive amount of plectrum pressure, depth and strength, to strike
the string can in itself be defined as beyond these parameters. However, this kind of
excess can be controlled though the use of heavy dampening, thus preserving the melodic
material.
With the involvement of so many strings with such large position shifts, there is a danger
of attempting the entire exercise with the same plectrum pressure. When sweeping
through so many strings in such vastly different positions on the neck, adjustment of the
plectrum pressure often helps to compensate for the changing conditions.
Unlike the previous exercise where the position changes were more incremental and
predictable, the ability to display a consistent tone can require more radical pressure
changes, especially at transition points. For example, striking the high A on the 17th fret
with the same strength as the A on the 5th fret would most likely result in an incompatible
string tone.
Because of their symbiotic relationship and the importance dampening plays in
controlling string tone and string amplitude, changes in plectrum pressure should be
reflected in palm pressure. For example, controlling amplitude and string tone of Figure
50 require the lower strings to have more dampening than the thinner-gauged strings.
Failure to control the strings’ vibration can result in lack of note definition and attack, a
common problem when attempting larger sweeps.396
In order to expand the technical scope of sweep-picking, Figure 51 utilizes a sequential
idea similar in form to Figure 48, one of the major differences being that it encompasses
six strings.
Figure 51
From a transitional viewpoint, Figure 51 is relatively uniform with position shifts
occurring at the end of every half bar, precipitated by either the fourth or the first finger.
Position shift motion is aided by four alternately-picked notes at each turnaround point,
optimizing plectrum motion and initiating sweep-picking for the subsequent arpeggio.
170396 Gilbert, Intense Rock, 1988.
171
5.6.9 Linear motion arpeggio summary
Due to the nature of tuning, there are many different positions where the same arpeggio
and its inversions can be played. Therefore, it is vital to have the ability to execute
arpeggios and their corresponding inversions in many different positions on the guitar
neck.
To facilitate these large position shifts, incremental motion creates a more fluid position
movement by breaking down a large movement into several smaller components.
However, incremental movement is not necessary when a small position shift occurs; in
these cases, the focus is placed on ensuring that the transitional finger is in its correct
position. Precise transitional finger placement allows accurate relative placement of all
subsequent fingers. The relationship between position shifts and transitional finger
movement can be aided by their synchronization to the plectrum strokes.397 Recognizing
this when performing the Caprices can help accurate positional relocation when obvious
uniformity is absent.
As has been illustrated earlier, the more strings involved the more variables are placed in
the equation, creating the potential for more problem areas. These issues largely revolve
around the changing string gauges and string elasticity throughout the sweep, which
impacts plectrum pressure and dampening variables.
While a multitude of other mobile arpeggios exist, all the relevant tools and issues to
tackle the Caprices from a contextual viewpoint have been discussed in this section.
397 Gilbert, Intense Rock 2, 1991.
5.7 String-skipping sweep-picking
5.7.1 Introduction
Sweep-picking lends itself to adjacent string motion and to this point the scope of the
musical exercises and techniques have been limited to this concept. Consequently, all the
tools needed to tackle the sweep-picking contexts have been covered with the exception
of ‘Caprice No. 1’. Due to its particular technical challenges, one of the most efficient
methods of playing the majority of this caprice is with the technique of string-skipping
sweep-picking. The ability to skip certain strings in an arpeggio at will opens a new
avenue of technical development with unique chord voicing and harmonic possibilities.
5.7.2 Multiple skips
Figure 52 exemplifies the typical contours of a string-skipping sweep-picking arpeggio
mentioned above.
Figure 52
‘Caprice No. 1’, bar 5
Before attempting multiple skips, it is important to familiarize oneself at a fundamental
level with the unique demands this sweep-picking technique places on plectrum motion.
172
Figure 53
Comparatively speaking, the note density is further reduced, resulting in more right-hand
motion per note than its adjacent string counterpart. With the more extreme motion per
note, variables previously controlled by an incremental alteration become more
susceptible to incorrect execution.
The area where difficulties are most likely to arise is the actual physical movement both
during and immediately following the actual string skip. At this point, the plectrum
requires adequate elevation in order to clear the “skipped” D string. Contextual
definition of the term “adequate” is subjective since it is dictated to a large extent by the
guitarist’s ability to execute correctly the note following the skip. Excessive elevation of
the plectrum above the skipped string can force the right hand out of position, severely
hampering its ability to control, modify, or create desirable string tones. Moreover, in
order to regain correct hand position an “on-the-fly” adjustment is required, which is
extremely problematic at fast tempi.
Where insufficient plectrum elevation is present, there is a high probability of striking the
skipped string. This excess string noise can also be remedied “on-the-fly”, by employing
either the palm of the right hand or the underside of the unused fingers of the left hand.
Although striking the skipped string can be remedied to a certain degree though
dampening, the initial attack is always audible. 173
174
These kind of “on-the-fly” modifications are a secondary option to playing the exercise
correctly and in many situations are simply impractical. The degree to which it is
impractical either to dampen strings or reposition the right hand is largely dependent on
the tempo of the notes being played. For example, attempting either of these solutions
whilst performing ‘Caprice No. 1’ at the correct tempo, can result in increased problems.
Occasionally in string-skipping sweep-picking, slight positional indiscretions and their
resulting extraneous string noise can be masked by utilizing these techniques. This is
especially relevant when multiple arpeggios are being played requiring the same string to
be skipped. If at any time the skipped string is struck, failure to prevent its vibration can
result in a continuous open string note. Left unchecked, this will permeate all the
arpeggios until either a new note is fingered on the offending string, or it reaches the end
of its natural vibration cycle. To further compound this issue, the offending string is
usually struck with an excess amount of force, being part of the actual arm movement
rather than the normal controlled wrist motion. For the aforementioned reasons, it is
often prudent to make string-skipping sweep-picking a more heavily palm regulated
sound, especially in its initial development stages and on the lower strings.
Within string-skipping technique, striking unwanted strings is a point of ongoing
concern, often arising in conjunction with inadequate technique and undisciplined
excessive speed. Complex combinations of alternate-picking and sweep-picking within
the string-skips exacerbate the string noise issue, as do a number of other variables most
of which revolve around hand relocation.
175
The main factor when string-skipping, is accurately locating the new string with the
optimum relative plectrum angle remaining constant. As in adjacent string motion,
retaining this is dependent on the physical repositioning of the wrist at the point where
the “skip” occurs. This motion is more exaggerated physically than its incremental
adjacent string counterpart, requiring repetitive practice to become accustomed to the
required distance.
When initially practicing string-skipping in exercises such as this, there can be a natural
tendency to reach for the notes instead of relocating the hand. This can be achieved by
twisting the wrist out of its normal position and altering the orientation of the plectrum
angle by adjusting the finger grip on the pick. Because there are so few notes
immediately following the skip, repositioning the palm can appear inefficient. These, in
conjunction with the ability to retain one dampening palm position controlling extraneous
string noise, are all contributing factors promoting this technical mind set. Although
reasonably effective in this specific exercise, its limited application becomes apparent
with the increased severity of the skips and can impede future technical advances.
5.7.3 Alternating string-skipping sizes
Figure 54 emphasizes the validity of this point, with access to E on the larger skip being
much more difficult without a position change. Focused on the accurate location of
strings through the exploration of alternating skipped string denominations, its success is
dependent on a number of different technical variables. The ability to skip any number of
strings to locate harmonic or melodic fragments is essential for both ‘Caprice No. 1’ and
a multitude of other harmonic chord voicings.
Figure 54
Due to the fact that twisting the wrist to reach the notes has limited application for larger
skips, the alternative is to move the entire arm at the elbow. This movement is required
in varying degrees a total of eight times during this one exercise, appearing to be
extremely inefficient. However, the movement required by the elbow is minor,
“pushing” the plectrum “through” the note subsequent to the skip. As the elbow pulls the
plectrum to return it to its initial position, it again strikes the string. This simplistic
methodology requires a minimum movement from the wrist once in position, relying
instead on the arm movement to generate the notes. Although relatively cumbersome
when compared to wrist note generation, the goal is to differentiate between the
movements required to skip one or two strings. A margin of error exists which can be
exploited when placing the wrist following the skip, however, to stay within usable
parameters requires continual repetitive practice.
As string-skipping sweep-picking action becomes more familiar, less arm and more wrist
movement can then be employed at the aforementioned turnaround points. By relegating
the elbow to the role of delivering the plectrum to its target destination, the more efficient
wrist motion can then be utilized to increase speed.
176
177
s,
As the speed increases, so too does the strength in which the strings are struck
immediately after a skip, which may require reduced plectrum pressure at these points.
By softening the plectrum grip during the skip, when the next string is struck the full
force of the elbow movement is reduced. The ability to retain a dynamic continuity
between the initial notes and the notes directly following a string skip is, to a reasonable
degree, dependent on the plectrum pressure. As the string skips alternate between strings
of different gauges, plectrum pressure can be altered to take these variables into account.
In essence, by loosening the plectrum grip, its rigidity is reduced allowing it to flex more
easily in the opposite direction to that of the sweep. For example, by applying less
plectrum pressure on the first skip of Figure 54, the plectrum naturally flexes towards the
previous notes in the opposite direction of the sweep. This approach is similar to using a
very flexible plectrum with a rigid grip or a strumming approach where the angle of the
plectrum can alter to accommodate playing five of six strings in one motion. Although
minor, as with all plectrum modifications, there are a number of positive and negative
points that require discussion.
Allowing the plectrum to flex to such a degree can obscure the initial note attack.
However, this is often only apparent when the plectrum is placed too deeply into the
strings, causing the string to be struck with a larger part of the plectrum,398 which, in
turn, can mask the attack. That this issue becomes less apparent as the tempo increase
is largely due to the fact that in order to increase tempo, less of the plectrum must strike
the string.399 Closely related to this point is the fact that this style of plectrum grip
promotes a weak note attack, making a stronger dynamic more difficult to achieve.
398 Gilbert, Intense Rock 2, 1991. 399 Observed in Gilbert, Intense Rock 2, 1991.
178
ow.
ates
e expansion of string-skipping as it encompasses multiple skips of varying intervals.
string
ggio that imitates in essence, the fingering and plectrum technique of ‘Caprice No.
1’.
Figure 55
However, with the plectrum flexing to varying degrees, it facilitates a more flowing
motion from one skipped string to another by decreasing the chance of it catching on the
string. This issue can arise when using a rigid grip if the plectrum is placed too deeply
into the strings, creating a “snag” which can retard or completely stop the sweep-picking
fl
In Figure 54, the skips on the C sharp and the E are on neighbouring strings. This cre
a situation in which the palm can arrive at the same position after each skip and still
comfortably reach both strings. Although this is possible, it is most desirable to treat
each new palm position as a separate entity; their individual placement variables after the
skip being idiosyncratic rather than universal. Adopting this mode of thinking facilitates
th
In order to expand the scope of technical development, the progression to multiple
skips is required. Figure 55 illustrates a typical multi-string skipped major/minor
arpe
179
ely
m,
efore moving to the next string. Moving across the strings in this fashion inherently
lift
ng the
rlying string noise albeit very subtle.
owever, it does have the advantage of controlling sympathetic string vibration in
. Although the alternate fingering is easier from
e viewpoint of note differentiation, in order to expand the extent of development the
riadic
In contrast to previous string-skipping arpeggios, where the palm could rest immediat
after the skip, this exercise requires the palm to dampen momentarily the third of the
chord on the eighth and ninth frets respectively. The term “dampen momentarily” is
defined as enough time to strike the string and in turn modify its vibration with the pal
b
generates extraneous string noise at the point when the palm is lifted off the strings.
This brings into focus the two methods of moving from one position to another during
string-skipping sweep-picking with the palm. The first and most obvious method is to
the palm off the strings, replacing it in its new position; the second, to slide the palm
across the strings from one position to the next. The first method can generate string
noise when the palm is lifted from the initial position; the second method can create noise
after the initial strings are left unattended by the palm. In the second method, pushi
palm from one position to another can create an unde
H
addition to modifying the target string’s vibration.
At the turnaround points on the high E string, the methodology and execution should be
similar to the previous two exercises with a subtle plectrum pressure alteration
accounting for the reduced string gauge
th
finger-barré is the preferable option.
When developing any positional technique, the subject of positional motion must be
addressed if the process is to reach its full potential. The embodiment of movable t
180
mples correspond to the
exercise, in terms respectively of their r armonic chord voicings and fingering
patterns although the actual notes and their order differ.
Figure 56
inversions that arise in ‘Caprice No. 1’ can be seen in Figure 56, first beat of bar 3,
second beat bar 5 and the second beat of bar 8. These exa
elation to h
In contrast to previous string-skipping sweep-picking forms, non-overlapping transitional
motion is now a factor, creating the need for relatively large movement in the left hand.
As in previous transitional motion, the key lies in the synchronization of the transitiona
finger with the plectrum strokes. In this case, transitional
l
motion is precipitated by the
rst finger on a down-stroke, in effect moving from the 5th to the 9th fret, the 9th to the
its
dered mute with regard to a direct translation to string skipping.
owever, there are a number of issues that are exclusive or more relevant in nature to
fi
12th fret, returning to the initial position after the repeat.
As a technical precedent has already been set in adjacent transitional string movement
replication is ren
H
string-skipping.
181
they
e
e of
otion with the arm can often function more
esirably. The degree to which the motion takes place often depends on the individual
g the second skip
each arpeggio. Unlike its third skip counterpart, the plectrum motion on the G string is
g
the
Figure 56 presents familiar alternative plectrum strokes, although in string-skipping
are utilized directly after the second and before the third skip of each arpeggio. Using a
continuous plectrum motion on cursory examination can appear to be the preferred
method. However, the plectrum motion immediately prior to the third skip is then in th
opposite direction to the subsequent note. This requires the plectrum to be pulled back
over the E and skipped B string in order to strike the G string with an upstroke. In its
adjacent counterpart this inefficient motion is easier to combat due to the close proximity
of the strings. However, the increased distance between strings created by the string-
skipping harmonic voicings, requires more extreme motion. The solution to this is an
arm movement combined with a minimal wrist motion, of which the wrist segment is
standard alternation, reflecting none of the radical arm movement. The large degre
movement is dictated by the retention of the optimum plectrum angle relative to the
string. Incremental wrist/elbow movement can often render both variables out of
position; whereas one large, flowing m
d
physical attributes of each guitarist.
Utilization of the alternative plectrum strokes eliminates the third skip issue. However,
in order for this to happen, an alternate-picking stroke must occur durin
of
towards the subsequent note, making it both more efficient and fluid.
When positioning the right hand at the turnaround point, it is important to avoid pushin
the plectrum too far past the target string on the first note. As the first note is part of
sweeping motion it is more prone to exceed the optimum distance beyond the string.
182
e
a turnaround
point; can be defined as “the distance required so as not to inhibit natural string vibration,
yet far enough to strike the subsequent string with its required dynamic”.
n,
rt402. Figure 57 and 58
illustrates how sequencing notes within framework works within ‘Caprice
No.1’ and can be expanded to the
Figure 57
‘Caprice No. 1’, bar 69
This creates the need for excessive wrist motion on the subsequent note. Optimum
distance as applied to string-skipping sweep-picking is dependent on the vibration of th
string in question. In turn, the amount of vibration is reliant on a number of variables
such as string tension and neck position, dynamics, string gauge and tempo. All these
being equal, the optimum distance the plectrum can travel past the string at
5.7.4 Note sequencing
Sequencing notes has been popularized by composers ranging from Bach and Beethove
to Yngwie Malmsteen400, Frank Gamble,401 and Paul Gilbe
an arpeggio
string-skipping idea.403
Figure 58 integrates aspects of note sequencing previously discussed in to the string-
skipping sweep-picking concept.
400 Yngwie J Malmsteen, Play Loud! The Third Movement, Classical Styling, Japan: YG Factory Inc., 1995. 401 Gambale, Monster Licks and Speed Picking, 1988. 402 Heard in ‘Scarified’, Racer X, Street Lethal, Shrapnel Records, Inc., SH-1023, 1986. 403 Gilbert, Intense Rock, 1988. ; Gilbert, Guitar Techniques, 2006.
Figure 58
As the note sequencing elements require multiple skips over the B string, the plectrum
motion of the alternate-picking component always moves toward the subsequent note. In
this fashion, plectrum motion functions at optimum efficiency, a by-product being that
the motion focuses on the equilibrium point at equal distance between the two strings. In
effect this functions as a point of reference for palm placement, a position from which the
strings are struck exclusively utilizing wrist motion as opposed to continually moving the
arm. Comfortably settling on the equilibrium point, the palm must equally be able to
modify and control the vibration of either string. The sweep-picking sections utilize
incremental elbow and wrist combinations, whilst the alternate-picking component
utilizes minimal elbow mobility in conjunction with larger wrist movement. Although in
previous exercises, the practice of pivoting the wrist to attain notes has been
inappropriate, in this case it is a logical option due to the note per string density and the
tempo.
The defining factor when playing these arpeggios is a technique that promotes clear note
differentiation, an aspect that the use of extended finger-barré can put at risk. Using one
finger to fret so many notes can create the problem of controlled note duration and in turn
can mask the initial attack of the subsequent note/s. The solution is a modification of the
sweep-picking adjacent string finger-barré technique, in which the finger-barré pivots
183
between the tip (fretting the note on the high E string) and further down the finger
(fretting the note on the G string). This pivoting or rocking motion between the two
positions on the same finger can be utilized to control note duration just as if the notes
were played with two individual fingers. Utilizing a finger-barré as opposed to two
individual fingers has an added advantage; the B string is constantly covered and
therefore prevented from any kind of unintentional string vibration. This factor can allow
more latitude within the defined parameters of palm placement, in turn allowing more
scope for slight variations in plectrum angle and string tone colourings.
Remaining with the theme of optimized efficiency, it is often prudent for the finger-barré
to retain the same position throughout the entire section. This has the advantage of
minimizing the amount of movement in the fingerboard hand, dividing the responsibility
of note differentiation between fourth finger placement and finger-barré rocking motion.
This advantage is in addition to controlling note duration and dampening unwanted
sympathetic string vibration.
Figure 59 illustrates the utilization of economic plectrum motion in sequential string-
skipping sweep-picking, to affect transitional motion through diatonic root position
arpeggios.
Figure 59
184
In order to affect this transitional motion successfully, plectrum motion and the palm
position must remain consistent throughout. However, the finger-barrés are more
movable than in the previous exercise, utilizing a parallel barré shift in order to attain the
new fret-board position.
This movement is aided by a uniform transitional finger motion synchronized with
alternately-picked up-strokes to facilitate its correct execution. From a transitional
viewpoint the fourth finger is solely responsible for the subsequent relative finger
placements, being “slid” to its new position.
Although the sequential transitions revolve heavily around the alternately-picked
sections, the overall mind-set is still deeply-rooted in string-skipping sweep-picking. By
maintaining this philosophy, plectrum pressure associated more with sweep-picking can
be maintained, thus promoting more continuity throughout the music.
5.7.5 Sequential transitions
Exceeding the technical boundaries defined in ‘Caprice No. 1’, Figure 60 extends into the
realm of multiple sequential transitions.
Figure 60
185
186
Utilizing two simple sequential ideas within the framework of sweep-picking string-
skipping creates a number of unique fingering issues. These are addressed utilizing the
alternative fingerings which are provided in order to prevent the hand from twisting in the
larger stretches which occur between the 5th and the 10th fret.
It is worth noting that on the last sequential skip, sweep-picking rather than alternate-
picking was used. The purpose of this was to facilitate an optimal plectrum motion for
the subsequent non-sequenced portion of the arpeggio.
5.7.6 String-skipping sweep-picking summary
Although a complex technique, string-skipping sweep-picking opens up an entire
category of harmonic chord voicings not normally associated with electric guitar
technique. Within the technique itself a number of consistently re-occurring technical
factors are present, all of which have associated variables that require constant
monitoring. These include palm dampening positions, plectrum angles relative to string,
plectrum pressure relative to string gauge and the interaction between the wrist and elbow
motion.
All of these factors have acceptable parameters within which technical variations
function; the outer extremities, however, can produce unpredictable musical results.
Nonetheless, the complex interactions between the aforementioned factors can be
intentionally used to modify either the effects of another technique or the strings
vibration.
187
Throughout this part of the chapter there has been consistent reference to ‘Caprice No. 1’
due to the almost exclusive use of string-skipping sweep-picking. However, many of the
tools employed within this section are also relevant to many other playing situations
throughout all the Caprices. These situations can vary from utilizing a single skip to
move to a new position, to entire sections utilizing string-skipping as in ‘Caprice No. 1’.
5.8 Chapter Summary
The optimized motion that sweep-picking provides, promotes a more fluid and easier
method of playing technically challenging genres of music. Although scalic motion can
be improved by the efficiency sweep-picking provides, it is in the low notes per string
density of arpeggios where the obvious technical benefits become apparent.
The simplicity of sweep-picking is not always reflected in its practical application
especially when applied to technically challenging forms of music such as the Caprices.
This has much to do with many of the other subordinate and problematic technical
elements that are required in order to facilitate economical motion. All of the
aforementioned subordinate issues are defined with workable parameters between which
variations can still be used effectively. Individual technical elements can be manipulated
to modify other elements; this is especially relevant from a dynamic, string tone or note-
colouring standpoint. All the elements discussed are weighted equally in terms of their
importance in ensuring musical continuity throughout.
When reducing the chapter to its most fundamental components, all technical exercises
fall into the categories of either adjacent string motion or string-skipping motion.
However, unlike alternate-picking that can occur in relative isolation, sweep-picking does
188
not. Its success within the Caprices is largely due to its relationship with alternate-
picking, the utilization of which precipitates a more passive sweep-picking approach to
plectrum tension. The alternate-picking component of any sweep-picking pattern
exhibits less aggressive plectrum tension traits than is normally indicative of “stand-
alone” alternate-picking.
The utilization of finger-barrés plays an intricate role throughout the technical vocabulary
of sweep-picking. As the note-per-string density drops with musical motifs such as
arpeggios, sweep-picking efficiency becomes of paramount concern. Finger-barrés
provide the vehicle to maximize the efficiency of the sweeping motion when multiple
notes on different strings occupy the same fret. Although not exclusively the domain of
sweep-picking, finger-barrés provide a challenge for correct note differentiation
especially in the area of note duration, attack and string tone uniformity.
189
Chapter Six: Alternate-picking
6.1 Introduction
By its very nature the use of a plectrum to create string vibration promotes two types of
picking motion: up-strokes and down-strokes.404 The combinations of these two motions
are commonly referred to as alternate-picking.405 Unlike the economy of motion inherent
in sweep-picking, alternate-picking is a versatile technique with aggressive overtones
created through plectrum attack.406 Although arguably viewed as a weak point, this
attack can also be exploited for its percussive qualities,407 making its unique sound one of
its greatest strengths.408 It can be applied to a diverse range of musical contexts for any
number of reasons, from dynamic impact and variation409, to fast flowing scalic figures
requiring defined note separation. 410
6.2 Fundamentals
6.2.1 Basic application
Although fundamental in theory, the ability to utilize this technique throughout the
Caprices provides a more varied tool palette for musical solutions in different contexts.
Figure 1 illustrates the scalic form at a fundamental level, showing the issues that need to
be addressed when applying this technique to the Caprices.
404 Observed in Gambale, Chop Builder, The Ultimate Guitar Workout, 1994. 405 Gilbert, Guitar Techniques, 2006. 406 Heard in ‘Inferno’, Racer X, Street Lethal, 1986. 407 Gambale, Monster Licks and Speed Picking, 1988. 408 Gilbert, Intense Rock 2, 1991. 409 Ibid 410 Heard in ‘Viking Kong’, Racer X, Superheroes, 2001.
Figure 1
‘Caprice No. 7’, bar 22
In contrast to sweep-picking, alternate-picking excels where note density per string is
highest.411 As with sweep-picking, however, alternate-picking can be adapted for use
where the note density per string is relatively low,412 creating a large area where the
techniques overlap. Within this area, the choice of technique can determine the correct
representation of the musical intent, or conversely can deliberately alter the original
sound. In this case, to re-create the staccato sound413 a more aggressive alternate-picking
style flanked by heavy palm dampening can be used,414 which most accurately represents
the written note.415
From the viewpoint of timbre, alternate-picking can function as an alternative to sweep-
picking, with its stronger plectrum tension and resulting aggressive attack.
6.2.2 Staccato, alternate-picking, and bow strokes
Although the subject of violin bow strokes can be a topic of intense discussion, it is
important for the electric guitarist to have a rudimentary understanding of the relationship
between the staccato bow strokes used in the Caprices, and alternate-picking strokes. By
411 Observed in Meola, Masters Series, 1991. 412 Ibid 413 Gilbert, Guitar Techniques, 2006. 414 Observed in Steve Morse, Power Lines, Seattle, R.E.H. Publications, 1992.
190415 Brown, ‘Dixie Flyer’, pp. 37-46.
191
its very nature alternate-picking consists of continuous up-strokes and down-strokes.
Therefore, the relationship between alternate-picking and bowing can be limited in scope
to bowing techniques that require consecutive up-strokes and down-strokes. This being
said, many characteristic parallels can also be found in non-alternating continuous
bowing motion techniques, such as jeté, ricochet, and up-bow and down-bow staccato.
However, for the purpose of drawing parallels, these have more in common with the
continuous stroke motion of sweep-picking.
In order to understand the relationship between alternate-picking and bow strokes it is
important to define their fundamental differences. When the plectrum strikes the string,
the string vibrates until modified by the palm or another note is struck; when a string is
bowed, the string vibration can continue for the length of the bow stroke(s) or until the
note decays. Constant bow contact affords the violinist the option for continuous note
modification throughout its duration. Characteristics such as volume swells are not
possible using the single striking motion of the plectrum unless volume swells are
employed through the use of a volume knob.416 From the perspective of initial string
attack, plectrum use is more akin to pizzicato or col legno, where once struck, the note
can then only be affected through the use of left-hand motion, such as vibrato.
Although the two instruments differ in nature, a number of similarities occur when
comparing alternate-picking to bow strokes. These are most notable when comparing
spiccato to plectrum use in alternate-picking and range from specific points to analogous
parallels and concepts. Many of the other “on-the-string” bowing techniques such as
416 Heard in ‘Cathedral’, Van Halen, Diver Down, 1982. ; ‘Icarus Dream Suite’, Malmsteen, Rising Force, 1984.
192
marcato, martelé, sautillé and saltando also exhibit technical parallels. However, within
the technique of spiccato, controls over many technical aspects arise that have parallel
concerns in alternate-picking.
One such issue is the angle at which the bow strikes the strings and its resulting tone
colour and note duration implications; i.e., the more vertical the bow arc, the sharper,
more accented, and percussive the tone quality.417 Unlike the bow, the plectrum tip
moves into position below the string immediately before striking it.418 However, the
similarities occur in the plectrum angle versus the bowing angle; the more acute the angle
that the plectrum strikes the string, the more abrupt the attack and sharper the tone.419
As in spiccato, where the height of the bow drop influences string tone and dynamics,420
the height from which the plectrum is dropped onto the string also affects the note’s
characteristics. The amount of vertical element in the attack strokes of both instruments
can be manipulated to create a more percussive, accented stroke.421
Alternate-picking and spiccato are both characterized by up-strokes and down-strokes.
Seen traditionally as a weakness that can restrict tempo,422 both techniques can minimize
this tendency through economy of movement. In order to do this, both techniques restrict
the distance that the bow or plectrum is removed from the strings between alternating
417 Galamian, Principles of Violin Playing and Teaching, p. 75. 418 Observed in Gilbert, Intense Rock 2, 1991. 419 Shawn Lane, Power Licks, Miami: CPP Media Group, 1989. 420 Galamian, Principles of Violin Playing and Teaching, p. 75. 421 Gambale, Monster Licks and Speed Picking, 1988. 422 Ibid
193
strokes.423 As tempo increases, the focus of the motion in alternate-picking moves from
the arm to the wrist as it does in violin bowing strokes.424
Another similarity arises when string crossing is necessary. Evenly-balanced transitions
between strings require the same plectrum position relative to the string,425 a technique
analogous to retaining the same amount of bow hair striking the strings at the crossover
point in violin playing.
This study acknowledges there is an entire field within cross-instrument technical
comparisons and methodologies that requires further investigation. However, the present
study requires the acknowledgment of noticeable similarities within right-hand
techniques in order to adequately replicate the original musical intent when desired.
6.3 Micro elements
In order to gain an appreciation of the technical interactions at a fundamental level,
alternate-picking is examined in small fragments or segments.426 This allows a sharper
focus to be placed on the development of individual concerns427 before tackling the larger
macro technical aspects.
6.3.1 Static position
Alternate-picking within a static position on a single-string, as illustrated in Figure 2,
represents the technique at its most fundamental.428
423 Galamian, Principles of violin playing and teaching, p76. 424 Ibid 425 Observed in Gambale, Monster Licks and Speed Picking, 1988. 426 Petrucci, Rock Discipline, 1995. 427 Ibid 428 Gilbert, Intense Rock, 1988. ; Meola, ‘Picking with Al Di Meola’, pp. 64-68.
Figure 2
Prior to attempting scalic melody or more complex alternate-picking patterns, a basic
understanding of the synchronization between the two hands is required.429 For this
express purpose, a continually changing three-note finger pattern can be used in order to
familiarize oneself with the requirements of synchronization. Reiterating this motion
helps develop speed and accuracy in addition to economy of motion.430
Aided by an unchanging plectrum stroke pattern, ascending, descending, and single note
patterns are all addressed in their fundamental form.431 Where the plectrum strokes occur
in relation to melodic material, is dependent on the initial stroke, a principle similar to
that found in sweep-picking.432 Prudence, therefore, dictates that a familiarization with
both possible initial strokes is required433 thus giving rise to the need for bracketed
alternative plectrum strokes.
Scalic melody within the Caprices requires the ability to move to the adjacent string,434
as illustrated in Figure 1. Figure 3 addresses this need by moving the first finger from the
B string to the E string with a corresponding movement in the plectrum hand.
429 Meola, ‘Picking with Al Di Meola’, pp. 64-68. 430 Ibid 431 Morse, ‘My Personal Picking Exercise’, p. 124. 432 Gambale, Monster Licks and Speed Picking, 1988. 433 Petrucci, Rock Discipline, 1995.
194434 Meola, ‘Picking with Al Di Meola’, pp. 64-68.
Figure 3 1
One of the fundamental differences between sweep-picking and alternate-picking is the
amount of space required for the plectrum hand to complete an adjacent string motion.
The extra motion that the plectrum requires gives the technique more power to strike the
string, which in turn results in stronger attack and a louder dynamic level.
The immediate issue in this exercise is to develop the ability to lift the plectrum from the
B string over the adjacent E string, striking it with an up-stroke, before moving back to
the initial string.435 The motion should be no more than is needed to strike the string and
return the plectrum to its original position.436 By utilizing the same motion, the last note
on the initial string is struck towards the subsequent adjacent string. For example,
movement from the B to the upper E string should be made using a down-stroke whereas
movement from the B to the lower G string is more economical with an up-stroke.
However, this can only occur when the correct number of notes preceding the crossover
point is present in order to facilitate the economical motion.
As economized motion is less of a concern in alternate-picking than in sweep-picking,
musical technique is often more dominant in influencing technical mechanics. However,
435 Gilbert, Intense Rock, 1988.
195436 Meola, ‘Picking with Al Di Meola’, pp. 64-68.
196
within the rigid stroke motion of alternate-picking, modifications to right-hand
positioning are constantly being undertaken to increase efficiency in the plectrum hand.
Another factor that can be modified to facilitate easier alternate-picking is the choice of
strings that certain notes are played on. In Figure 3, movement between the strings can
be viewed as two individual positions or one hybrid position that covers both strings.
The advantage of the latter is the elimination of the need to change positions for a single
note on an adjacent string. Although this practice requires modification when string-
skipping is used, for adjacent-string motion it functions adequately.
6.3.2 Alternate-picking dampening
The hybrid hand position allows slightly less control over the amount of dampening used
between the two strings, a consequence of never removing the palm from the strings to
change position. Although sweep-picking utilizes dampening to control string tone, one
of its primary functions is the reduction in extraneous string noise437 which helps to
create clean, clear notes.438 Dampening within the technique of alternate-picking is
crucial439 in controlling string tone and note duration,440 the latter becoming more
important at faster tempi, due to the need for clear note separation.441
As the density of notes per bar increases, the need for each note to have a definite
beginning and end point becomes more essential. Figure 4 illustrates an octave
transposition of the main Caprice melody which is played at a rapid tempo.
437 Brown, ‘Dixie Flyer’, pp. 37-46. 438 Ibid 439 Ibid 440 Gambale, Monster Licks and Speed Picking, 1988. 441 Heard in ‘Technical Difficulties’, Racer X, Technical Difficulties, 2000.
Figure 4
‘Caprice No. 5’, bars 8-9
Paganini’s use of staccato throughout ‘Caprice No.5’ creates rapid-fire notes which are in
contrast to the legato arpeggiation and scalic passages of the introductory bars. Creating
a similar staccato effect using alternate-picking is possible using the correct plectrum
grip pressure in combination with palm dampening.442
Creating different styles of staccato is possible through a synthesis of two factors: the
strength with which the string is struck; and the corresponding weight of the dampening.
Both factors are combined in varying degrees with each alteration creating a differently
nuanced staccato.443 For example, hitting the strings hard with the plectrum, in
conjunction with heavily dampened strings, creates a staccato more percussive in
nature.444 Conversely, notes struck extremely lightly with virtually no dampening have a
less stifled, open legato quality.445
While either end of the spectrum can be used, there is a generalized trend that can be
discerned through the observation of many players. Within the technique of alternate-
picking, notes that are longer in duration with more expression tend to utilize a more
open sound with little or no dampening. In contrast, faster music requires heavier 442 Gambale, Monster Licks and Speed Picking, 1988. 443 Observed in Morse, The Essential Steve Morse, 1991. 444 Observed in Morse, Power Lines, 1992.
197445 Observed in Gilbert, Terrifying Guitar Trip, 1995. ; Gambale, Monster Licks and Speed Picking, 1988.
198
dampening in order to get clear note separation and the resulting percussive quality is
proportional to the strength of the plectrum attack.446
6.3.3 Correct amount of dampening
Working from the premise that maximization of the melodic and harmonic content of
alternate-picking is most desirable, minimization of the percussive element of the note is
required.447 Therefore, the correct amount of dampening can be defined as no more than
is necessary to facilitate maximum note resonance448 whilst controlling tone, note
duration and extraneous string noise. Plectrum pressure and the strength with which the
string is struck can also affect the amount of dampening, making the “correct” amount a
fine balance between all the aforementioned factors.
The successful application of dampening requires consideration of musical content, the
strongest component of which is tempo. With an increase in tempo, incremental
increases in palm pressure (dampening) against the strings are required. Unless
otherwise desired, the body of the note should never be obscured by the attack of the
plectrum, which becomes more likely as tempi increase.
Figure 5 illustrates a contrast to the hybrid principle discussed in relation to Figure 3.
Moving equally between the two adjacent strings creates the need for the hand to be
repositioned as opposed to reaching for the note on the new string.
446 Heard in ‘Paul’s Solo’, Racer X, Live Extreme Volume, 1988. 447 Gambale, Monster Licks and Speed Picking, 1988. 448 Ibid
Figure 5
The development of adjacent string motion is an essential skill to master at a micro
element stage as it is fundamental to scalic elements and phrasing of the Caprices. In
order to facilitate factors such as relative plectrum angle, dampening and even string
tone, it is necessary to reposition the hand when moving to the new string.449
The two main approaches to hand movement when dealing with this exercise are the
hybrid approach discussed in relation to Figure 3, and complete hand repositioning.
The hybrid approach translates directly to this exercise in which the right hand takes up a
position where it can reach both strings with minimal positional movement.
Unlike the hybrid position that covers multiple strings, repositioning the hand at every
new string has a number of advantages. One such advantage is the consistency of tone
and plectrum angle relative to the string created through the use of the same portion of
the right hand palm.450 Although this creates more movement, the improved consistency
to both note duration and dynamics makes positional relocation every time a new string is
played a valuable musical tool.
Figure 6 illustrates an application of the hybrid positional idea into scalic motion.
449 Observed in Gambale, Monster Licks and Speed Picking, 1988.
199450 Observed in Gambale, Chop Builder, The Ultimate Guitar Workout, 1994.
Figure 6
When applying hybrid positioning to a standard six-string, three-note-per-string scale,
palm repositioning is minimized, reducing the risk of string noise through excessive right
hand motion. By reducing palm repositioning to only twice in a six-string scale, the
scalic elements naturally break into two string groupings. However, one of the
disadvantages to such minimal right-hand movements is that when the motion does occur
it is relatively large. Therefore, the larger motions can be cumbersome and increase the
risk of incorrectly positioning the right hand.
Repositioning the right hand at every string also works in Figure 6. Although creating
more positional movement, it has the advantage of smaller more accurate incremental
movement. From an observational point of view the movement appears to be a
continuous motion. This is especially true of the technique at increased tempi, as the
string is dampened by the same target area on the palm.
6.3.4 Plectrum grip pressure and string dynamics
As string gauge alters incrementally throughout the figure, it can be necessary to adjust
the plectrum grip pressure in proportion to this change. By decreasing the strength with
which the string is struck relative to the string gauge, a consistent string dynamic can be
attained.
200
201
Due to the aggressive attack that alternate-picking provides, string dynamics can play a
more active role than they do in sweep-picking. In sweep-picking it is much easier to
retain a standard depth that the pick attains when striking the strings. However, in
alternate-picking increased wrist movement is utilized with more inertia which increases
the probability that the string will be struck with either too much or too little force. This
can occur for a number of reasons such as anticipation of the plectrum hand movement or
as part of an incorrect movement to another string. The first of these can create weak
notes; the second, being part of the elbow movement, creates notes of extreme volume.
Unless generated intentionally, both extremes represent undesirable dynamic effects and
are inconsistent with the attainment of an even melodic line and a constant dynamic level.
6.3.5 Micro elements summary
Alternate-picking is more aggressive than sweep-picking largely due to the physical area
required for the wrist to complete the plectrum motion. The challenge of producing notes
of an even dynamic level whilst moving to adjacent strings can in turn create a number of
choices that affect the overall flow of a passage.
One solution to the problem of adjacent string motion is referred to as the hybrid
position; this is essentially the placement of the right hand between the two strings. This
creates the opportunity for either string to be struck without the need to reposition the
right hand. The effect is a reduction in right hand movement when applied to multiple-
string scalic motifs. The second solution is to reposition the hand at every new string;
although simplistic in nature, this creates nearly double the movement of the first
solution.
202
Secondary to tone generation is the utilization of dampening in order to modify and focus
the subsequent notes. Many factors such as timbral continuity, attack, note duration,
string resonation and dynamic consistency are all reliant on correct string dampening.
6.4 Macro elements
6.4.1 Introduction
Many of the issues discussed prior to this point require practical application within the
context of the Caprices in order to observe them in a usable format. The logical
development of this technique requires its initial evolution to be conducted within the
three-note-per-string static scalic framework, one of the most efficient forms. This
requires minimal movement whilst maximizing the focus on the actual execution and
tone quality of the notes. This idea is echoed in the scalic approaches throughout the
transcriptions of the Caprices and has far-reaching ramifications for its future technical
evolution within other musical genres.
6.4.2 Static position scalic development
Figure 7 illustrates alternate-picking in both the ascending and descending scalic form
providing the initial point to proceed with its development.
Figure 7
‘Caprice No. 7’, bar 67
Within this figure all the aforementioned factors are visible; scalic motion in both
ascending and descending forms, three-note-per-string diatonic material and strict
alternate-picking. The essence of this musical phrase can be extrapolated and expanded
into a musical exercise with a less musical but more logical symmetrical form. This will
provide an opportunity to address problem areas that could otherwise be approached only
on a cursory level. This principle is especially true when learning techniques from music
rather than the application of techniques to music.
Figure 8 illustrates the extrapolated exercise with alternate-picking strokes and bracketed
alternatives which give the exercise the lateral coverage needed for alternate-picking
development. The coverage includes the four alternate-picking strokes when moving to
the adjacent string: the ascending up-stroke and down-stroke; and the descending up-
stroke and down-stroke.
203
Figure 8
Alternate-picking can be broken down into groups of two; the up-stroke and the down-
stroke, that, when applied to three-note-per-string scales, creates an alternating adjacent
string stroke. The consistently alternating adjacent string stroke is shown more clearly in
the ossia staff which picks out only string crossing notes. From the perspective of right
hand repositioning, the ossia staff illustrates which plectrum strokes must be
synchronized with right hand position shifts.
The hybrid position shifts four times with each movement immediately preceding a two-
string grouping. In this format, where the movement occurs every two strings, it does so
on the same plectrum stroke: in the ascending version two down-strokes and in the
descending version two up-strokes, making it easier to synchronize. In contrast, when
repositioning the hand after every string, co-ordination between the movement and the
plectrum stroke are consistently alternating.
The two strokes on the top note at the directional turnaround point retain the rhythmic
impetus whilst remaining within the parameters of strict alternate-picking. This rhythmic
204
device can be used to link two static positions together whilst retaining a clear rhythmic
framework.451
6.5 Cyclic Rotation
6.5.1 Introduction
The term cyclic rotation refers to a continually repeated pattern akin to an ostinato.452
This type of ostinato also helps to develop one of the most important attributes, stamina,
alongside overall consistency of execution.453 These attributes are needed for the faster
and more technically demanding sections of the Caprices such as string-skipping.
Both Figures 9 and 10 are extracts from ‘Caprice No. 24’ that exhibit similar melodic
material and alternate-picking usage; these fit into the cyclic rotation format when
consistently repeated. Figure 9 provides a contrasting single-line melody whilst Figure
10 is utilized as a variation on the main theme.
Figure 9
‘Caprice No. 20’, bar 25
451 Gilbert, Intense Rock, 1988. 452 MacAlpine, Guitar Lessons, 1990.
205453 Ibid
Figure 10
‘Caprice No. 24’ variation 2, bar 25
Figure 11 is an extrapolation of the previous two exercises utilizing a leading note to
tonic idea prevalent within the single-note melodies of the Caprices.
Figure 11
From a technical standpoint, the exercise expands upon the adjacent string motion
concept and is much less uniform than a normal exercise. Within this exercise,
movement to the adjacent string occurs on both strong and weak beats in the bar. This
creates an inefficient right-hand motion which moves in a contrary direction to the
subsequent target string. This is best seen on the ossia staff, where the movement
immediately preceding the C on the adjacent string is an up-stroke reminiscent of the
adjacent string motion illustrated in Figure 9.
206
Staccato has been added to all the notes in order to develop the ability to dampen the
higher strings reasonably heavily.454 This has the effect of smoothing out the attack
envelope whilst still allowing the notes to sound clearly.455 Moreover, it aids the
development of the subtle dampening often required for the higher flat-wound strings.
Mastering this technique can be problematic owing to the need to use minimal string
contact in order to avoid completely “choking” the note yet allowing enough contact to
subtly control the note envelope.456
Due to the fact that this entire exercise is played on two strings the hybrid position
approach is preferable. This requires incremental increases from medium to heavy
dampening as the tempo increases.457
6.5.2 Symmetrical adjacent string access
Figure 12 illustrates a natural progression, with the exercise symmetrically balanced,
utilizing single notes on both neighbouring adjacent strings.
Figure 12
When approaching such a figure, there are technical concerns that need to be addressed.
One such concern revolves around the peripheral notes on both adjacent strings which are
consistently at risk of being struck incorrectly. The F on the G string is most at risk being
454 Heard in ‘Catapult to Extinction’, Racer X, Getting Heavier, 2003. 455 Observed in Lee Marcello, Lee Marcello, Seattle: R.E.H. Publications Inc., 1991. 456 Observed in Gilbert, Terrifying Guitar Trip, 1995.
207457 Observed in Gilbert, Intense Rock 2, 1991.
struck with an up-stroke moving in a contrary direction to the subsequent note.458 In
contrast, the note appearing on the top string is struck with a motion that can be
continued towards the subsequent note on the B string.459
When viewed in isolation, beginning with either an up or a down-stroke determines
which adjacent string utilizes the more difficult motion. However, in reality it is
important to be accustomed to all adjacent plectrum motions which in turn helps as more
complex plectrum string movement arises.
6.5.3 Movement into and exiting the string
Figure 13 covers every contingency involving alternate-picking and adjacent string
motion.
Figure 13
As has been the case previously, the ossia staff illustrates the adjacent string motion
without peripheral notes. There are four types of adjacent string motion addressed.
458 Petrucci, Rock Discipline, 1995.
208459 Ibid
209
Strings below and above the main string can be approached with either an up-stroke or a
down-stroke.
A more in-depth analysis of this motion reveals each adjacent string movement can be
broken into two parts; the movement into the string and the movement exiting the string.
In order to examine the entry and exit point of each adjacent string motion460 it is
important to start with the note immediately preceding the motion and the one
immediately after. Not surprisingly, in bars one and two the adjacent string motions both
before and after mirror each other owing to the uniformity of position where they occur
and the strict alternate-picking regime followed.461 In bars three and four only single
notes on the adjacent strings are played making the less economic movement in bar three
more difficult to execute than its subsequent counterpart.
The previously discussed hybrid approach can be modified to be used effectively where
either side of the initial string requires accessing. From a practical perspective, difficulty
arises when too many right-hand repositioning motions are attempted in a short period of
time. Notes on adjacent strings can fail to reach their full duration or be lacking adequate
tone. This arises from the inability of the right hand to retain the correct plectrum angle
during the shift. Utilizing the hybrid position for the first adjacent string motion and the
right hand position shift of the second or vice versa can create reduced motion overall.
Which technique to use and where it is applied can be a subjective decision dependent on
whether motion to the lower or the upper adjacent string is preferable. Once this has
460 Petrucci, Rock Discipline, 1995. 461 Howe, Hot Rock Licks, 1989.
been determined the hybrid static motion can be reserved for the more difficult adjacent
string.
6.5.4 Plectrum rotation
Previously in the cyclic rotations, the number of notes on the peripheral strings was
altered in order to provide alternating adjacent string motion. However, Figure 14
illustrates the opposite situation with the plectrum strokes themselves going through a
rotational cycle every two bars whilst the notes remain exactly the same.
Figure 14
Due to the nature of the time signature and the number of notes per string, the plectrum
pattern is reversed at the end of every bar.462 This type of cyclic rotation develops a
number of new technical avenues previously unexplored in this study. The constantly
rotating adjacent string movement contrasts the previous method. It does so by
employing a varying number of strokes on the adjacent strings to alter stroke motion.463
Both the highest and lowest notes can be used as synchronization points and therefore
have been intentionally accented to provide a rotational reference point.464 Of these
accents, both are played on the same plectrum stroke; in bar one down-strokes are used
and in bar two the accents arise on the up-stroke.465 Due to the fact that all plectrum
462 Howe, Hot Rock Licks, 1989. 463 Observed in Romeo, The Guitar Chapter, 2000. 464 Ibid
210465 Ibid
211
strokes are constantly rotating, accent points provide a stroke motion check466 confirming
the correct plectrum strokes are being adhered to.467
By rotating the plectrum strokes on the predominant string, the constant state of flux
creates a less anticipated feel to the picking.468 This in turn can help develop the ability
to utilize alternate-picking spontaneously in any musical situation eliminating the need to
work out plectrum strokes in advance.
6.5.5 Cyclic rotation summary
In addition to developing stamina and coordination, cyclic motion provides valuable
insight into retaining a correct plectrum angle relative to the string and its relationship to
dampening.469 This is especially true for single notes occurring on peripheral strings or
those that require momentary repositioning which can place string tone and note duration
at risk.
Within the cyclic ostinato, all variations of adjacent string motion, both upper and lower,
can utilize the static position framework to develop the required movement necessary for
further expansion. Although it is possible to create an infinite number of variations
within this type of ostinato, the finite technical repertoire is comparably small. However,
once developed, the alternate-picking adjacent string motion has far-reaching
ramifications not the least of which is the basis for alternate-picking within the Caprices.
466 Petrucci, Rock Discipline, 1995. 467 Gilbert, Intense Rock 2, 1991. 468 Lane, Power Licks, 1989. 469 Observed in Gambale, Monster Licks and Speed Picking, 1988.
6.6 Linear motion
Up to this point, all alternate-picking motion has been focused on its development within
a non-linear static position on the guitar neck. This provides an environment that allows
both the technical and plectrum motions to be the sole focus, minimizing any variables
that could be created through lefthand movement.470
6.6.1 Overlapping linear motion
The introduction of linear motion across the fingerboard within sequential patterns allows
for prolongation471 of one plectrum motion into multiple diatonic motifs. Figure 15 is a
case in point; it illustrates the same plectrum pattern being used in a number of diatonic
positions though lefthand linear motion.
Figure 15
‘Caprice No. 5’, bars 11-12
The linear motion that the sequential diatonic idea provides, expands exponentially
depending on the number of shifts used. It also provides a valuable memory tool 472 with
distinctive fingering patterns that relate to harmonic shifts473 and can be utilized for
modulation and melodic development.
470 Lane, Power Licks, 1989. 471 Howe, Hot Rock Licks, 1989. ; Gilbert, Guitar Techniques, 2006. 472 Gilbert, Intense Rock, 1988.
212473 Observed in Howe, Hot Rock Licks, 1989.
6.6.2 Sequential movement
Figure 16 provides a solid launching point from which to begin the development of
diatonic position movement in conjunction with alternate-picking and adjacent string
motion.
Figure 16
One of the biggest advantages of the sequential movement is the replication of the
plectrum patterns which have exact string tone duplication. The variable that requires
consideration is that of changing string elasticity as the fingering pattern moves towards
the headstock. Incremental changes in both plectrum and palm pressure can be required
if constant tone and dynamic uniformity is to be achieved. Although these changes are
extremely slight when dealing with overlapping diatonic sequential movement, larger
movements can require much more radical changes. An initial awareness of these
changes begins at this fundamental stage, however, the goal is the development of an
intuitive ability to relate positional motion to plectrum pressure changes, dampening, and
string elasticity.
213
Due to the nature of the guitar, diatonic linear movement eliminates extremely complex
fingerings that can occur within the static position framework. The complexity of
214
executing fingering and adjacent string motion from such an undertaking can require
much lengthy development for minimum technical intrinsic value.
There are three physical linear movements, each coinciding with an accented down-
stroke, with the fourth finger utilized as the anchor for the new position. All proceeding
notes are placed relative to this transitional finger with each subsequent position
beginning on the second note of its previous counterpart. This method of using a
transitional finger to locate the new position is as effective here as it is in sweep-picking.
Another advantage of this type of motion is the incremental physical movement from one
position of the fingerboard to another, making it an ideal transitional tool, a case in point
being Figure 15 where incremental movement from the 15th fret finishes on the 4th fret in
the short space of a bar and a half. This can contribute to the rapidity of arpeggio-based
motion where the ratio of shifts per note is higher. This is in stark contrast to the ratio
found in conjunction with Figure 16.
6.6.3 Alternately-picked arpeggiation
The regularity in which alternately-picked arpeggios appear within the Caprices requires
that the technique be further developed. Although the more common five-, six-, and
seven-string static position arpeggios have been dealt with within the context of sweep-
picking, they are not limited to this form. Alternate-picking, in conjunction with both
adjacent string motion and linear motion, occupies its own technical niche, providing
unique string voicings and dynamic tone possibilities.
Figure 17 illustrates alternately-picked arpeggios that include multiple linear movements
with both primary and secondary transitional points.
Figure 17
When examining the primary transition points, the symmetrical fingerings and uniform
movement become immediately apparent. Each grouping of three notes is repeated in
successive octaves making its memorization relatively simple.
Although the linear motion is the same in both bars (being a major second and minor
third respectively) the transitional finger alternates from the second to the first finger.
The minor third movement is more difficult to execute from the perspective of relative
position placement as it requires a larger motion from a non-overlapping position.474
However, the symmetrical nature of the triadic figures makes memorization a
215474 Observed in Gilbert. Intense Rock, 1988.
216
combination of two factors; learning the initial triadic shape475 and its associated linear
movement.
Synchronization between plectrum strokes and linear motion is similar in form to Figure
14 in which each grouping begins on the opposite stroke to its previous counterpart.
Each bar represents one complete cycle at the end of which the initial plectrum stroke is
reversed. The arpeggiation in Figure 17 decreases the notes per string ratio, making each
grouping of three notes begin with a contrary motion plectrum stroke. This makes every
second triadic figure end with the inefficient plectrum movement similar in principle to
three-note-per-string plectrum motion. 476
Through the utilization of the secondary transition points, right-hand motion is reduced
by approximately 50%, requiring only four movements as opposed to eight.
Consequentially, the larger shifts are less incremental in nature with an increased
difficulty factor related to finger-barré integration and loss of symmetry.
These finger-barrés become increasingly difficult to use especially in bar two, where the
second finger is responsible for three consecutive notes, two barréd and one as the
transition. Although the contrary plectrum motion occurs on the second note of the
finger-barré, the next note benefits with the plectrum hand playing the same string. This
avoids the awkward motion of lifting the plectrum over the next string which would
normally occur in a static position when notes are played on consecutive strings.
475 Observed in Gilbert. Intense Rock, 1988. 476 Morse, ‘My Personal Picking Exercise’, p. 124.
217
Another difficult plectrum issue which is related to the contrary picking motion is
“inside”477 and “outside”478 picking. Inside picking motion involves consecutive notes
being played on the inside of the string; outside picking is the exact opposite. For
example, notes played on the D and G string with consecutive up and down strokes
utilize inside picking with the reverse stroke pattern being termed outside picking.
Inside picking from the viewpoint of space between the strings is constrictive in
nature.479 This can limit the motion range of the right hand creating tension.480
Although outside picking motion is much easier for many guitar players481 both motions
occur within the technique of alternately-picked arpeggios.
The secondary transitional points represent one possible musical scenario. A
combination of both primary and secondary is also possible in addition to many other
incremental solutions.
With so many variables, however, Figure 17 provides a fundamental platform from which
to develop many of the essential tools needed for linear movement involving low note per
string ratios. Figure 18 is one such contextual example of the aforementioned concepts
which exhibits many similarities in form to Figure 17.
477 Petrucci, Rock Discipline, 1995. 478 Gilbert, Guitar Techniques, 2006. 479 Petrucci, Rock Discipline, 1995. 480 Ibid 481 Gilbert, Guitar Techniques, 2006.
Figure 18
‘Caprice No. 5’, bar 2
In this case incremental motion from one harmonic area on the fingerboard to another is a
useful by-product of the arpeggiated linear motion; this is especially true considering the
note range.
6.6.4 Non-overlapping adjacent string linear motion
The diatonic-seventh chords illustrated in Figure 19 utilize alternately-picked linear
transitions within a rudimentary sequential framework whilst expanding the idea of
symmetrical fingering patterns.
218
Figure 19
To this point, alternately-picked arpeggios have been focused on the more symmetrical
two-string approach found throughout the Caprices. However, in order to expand the
arpeggio form to encompass three strings, the diatonic seventh note can be included. The
added note increases the right-hand motion by a further 25%, which, although played
with the more economic up-stroke, requires a constantly fluid motion.482 By utilizing
light plectrum pressure in conjunction with light to medium amounts of dampening the
fluid motion can be achieved. This in turn promotes a relaxed palm dampening style that
can be repositioned more readily.483 Heavy dampening and its associated release and
reapplication can make fast agile motions much more problematic, especially when a low
note per string ratio is present.
Positional linear motion takes place on the first note of every beat with the root of the
chord being immediately identified as the tonal center. The second finger functions as
482 Lane, Power Licks, 1989.
219483 Ibid
220
the transitional finger almost exclusively. However, the exception to this is the G sharp
diminished seventh chord where transitional finger substitution occurs from the second
finger to third and back.
Although only a semitone apart, the arpeggios of Dmaj7 and C sharp maj7 are played on
different string groupings requiring a non-overlapping positional motion. Relative
positional motion and finger placement is also more difficult at this point as it is more
likely to require a visual reference than the other major second movement. The non-
overlapping quality of the motion requires the second finger to swap to the adjacent string
below whilst simultaneously traversing a major third up the fingerboard. The
simultaneous nature of this movement should appear quick and fluid. There is a danger
that an unintentional pull-off motion can occur when removing the first finger from the D
string. The light to medium dampening discussed in the previous paragraph can now be
more specifically defined as that needed to prevent extraneous string noise during the
shift. The amount of dampening, therefore, is dependent on the individual’s ability to
move between adjacent strings with a minimum amount of string noise.
Returning to the concept established in Figure 19 of a non-overlapping adjacent string
linear motion, Figure 20 illustrates how this idea can be applied to the major-seventh
chord.
Figure 20
Due to the tuning of the electric guitar, the linear shifts are more extreme than anything
previously encountered in this chapter. The now familiar symmetrical three-string
groupings require the transitional finger to move seven frets at a time to the adjacent
string in an ascending sequence. The byproduct of developing the ability to execute such
large incremental linear motion is the extreme physical range that can be covered on the
guitar neck through the different octaves.
With staccato dampening and even string tone still of fundamental concern, the
importance of synchronization is paramount, especially at the larger transitional points. It
is at these points that note duration is most at risk, necessitating the need for the ossia
staff which exhibits the transitional finger movement that requires independent
familiarization.
There are a number of methods for this kind of extreme movement, one of the more
orthodox of which is the instantaneous movement of the hand from one position to the
next. This has many advantages and applications, an important one of which is that it
requires no anticipation or preparation, thus making it ideal for smaller linear movements.
221
6.6.5 Preparation, anticipation and transition
The second and more complex method requires anticipation of the position shift by the
entire arm. Figure 21 illustrates this, showing how it can be divided into three distinct
movements best described as preparation, anticipation and transition.
Figure 21
The principle behind this idea is extremely simple with many players evolving the
technique unconsciously484 to combat large position movements. A rough comparison is
to that of a whipping motion, carried out by the arm prior to and during the positional
movement.
The preparation involves the left arm being lifted slightly in the opposite direction of the
subsequent motion, in this case on the note. During the anticipation, the arm moves in
the same direction as the subsequent transition in order to gain momentum for the
impending position shift. When used in conjunction with the momentum already in
progress from the anticipation note the transition should be relatively straight forward.
In order to break down each motion into its fundamental form, preparation, anticipation
and transition, a threenote illustration has been used. However, preparation and
222
484 A conclusion drawn from the observation of numerous sources of instructional footage, in which only occasional vague references were made to this technique.
223
anticipation can span any number of notes dependent on tempo, the number of frets
moved and the note per string ratio. The size of the transition is the factor that influences
the length of preparation time required. Bigger transitions that require more momentum
and longer preparation time can span a larger number of notes whilst the transitional
motion remains relatively constant.
Throughout this entire arm movement there should be no change in the actual fretting of
the notes and more importantly the actual note durations should remain unchanged. As
lifting the arm can have the undesirable effect of inadvertently lifting the fingers off the
fingerboard it is important to be even more vigilant at these points.
One final point about this technique needs to be made with regard to the kinetic energy in
the movement, both at the transition point and immediately after. With so much kinetic
energy in the left arm it is important that care is taken to not allow a positional overrun.
One method of avoiding this is to increase the pressure on the thumb against the neck at
the correct time. This effectively pinches the transitional finger and the thumb together
against the neck stopping the motion at the new target area on the finger-board.
Although only mentioned in conjunction with technical aspects and alternate-picking, this
concept has far-reaching applications throughout all linear shifts. Many of the linear
motions that occur within the Caprices can benefit through at least partial use of this
technique owing to their speed and need for relative finger placement. Its subjective
nature makes its successful utilization as a tool solely dependent on the individual’s
application of it in any given musical context.
224
Returning to Figure 20, the finger-barré on the last two notes is the only symmetrical
digression from the established fingering pattern. Irrespective of this, relative finger
placement can be applied to all three positions as they span the same four-fret spacing.
A relationship has been defined between fingering and linear movement which parallels
the association between linear motion and plectrum pressure. As larger non-overlapping
position movements are expanded it is important to note that larger plectrum pressure
alterations can be required in order to retain a continuity of tone. The larger leaps in
effect shorten the length of the strings considerably, in addition to the change in both
string groupings and string gauges. Therefore, each large linear shift has an associated
relative plectrum pressure analogous to the relative finger placement concept. With
larger sized leaps, plectrum pressure alterations should also change accordingly. The
pressure change must occur both intuitively and simultaneously as the position transitions
are taking place.
6.6.6 Scalic non-overlapping adjacent string motion
Non-overlapping sequential adjacent transitions are not exclusively the domain of
arpeggios. The higher density ratio of notes per string that scalic style motifs provide
require further development if it is to be of use within the Caprices. To this end, the
fundamental platform provided by Figure 16 is ideally suited. However, in order to
develop the versatility of the technique further, an increase in the number of shifts per
note ratio is required.
The result of such a combination of variables can be seen in Figure 22, which illustrates a
linear position shift of a third. This interval is the smallest, non-overlapping, three-note-
per-string shift that provides a good fundamental point from which to become
accustomed to the motion.
Figure 22
Due to the symmetrical nature of this exercise each position starts with the same accented
down-stroke making it the focal synchronization point. Consequently, the adjacent string
motion crossover points are played with an up-stroke with the only fret common to both
positions being the 13th.
The fourth finger provides the sliding major third transition in the ascending version with
the first finger providing it in the descending version. Although alternating transitional
fingers is not a new concept, it can cause initial confusion when combined with larger
transitional motion within such a small grouping.
In order to grasp the full potential of linear motion provided by this technique its
expansion to include larger shifts, as illustrated in Figure 23, is necessary.
225
Figure 23
The ossia staff shows all the transitional points and their corresponding fingers in
addition to the descending fourth interval where note duration is most at risk. The
alternating transitional finger, in combination with the alternating linear interval, makes
this the next step in the development of linear motion. Using the ossia staff it is possible
to focus solely on the isolated position shifts before the addition of the peripheral scalic
material.
The symmetrical plectrum strokes and linear shifts are not indicative of a naturally
occurring musical context within the Caprices. It is more realistic, therefore, to prepare
for all adjacent string motion and transitional point combinations. Figure 24 does this by
retaining a consistently alternating plectrum pattern whilst changing the number of notes
per bar.
226
Figure 24
By changing the number of notes per bar to an odd number (in this case eleven), it is
possible to produce an alternating rotational cycle which develops non-symmetrical
transition points. This aids the ability to move in a linear fashion to non-overlapping
positions on either an up-stroke or a down-stroke. Retaining a strict alternating pattern
requires each bar to begin with an alternating accent, similar in theory to the rotational
alternation created in Figure 14.
With the exception of plectrum strokes in Figure 14, string symmetry has been relatively
predictable when used in conjunction with adjacent string motion and linear shifts.
However, in Figure 24 the entire plectrum pattern is reversed in the second bar, requiring
linear movement to be synchronized to alternating plectrum strokes. Although appearing
more random in nature this type of symmetrical and non-symmetrical adjacent string
motion occurs throughout the Caprices.
Figure 25 illustrates the final evolution of this technique and includes multiple transitions
over non-overlapping linear shifts on parallel strings.
227
Figure 25
In previous exercises, the linear shifts on the lower strings have only been used in
descending patterns; in this exercise, the linear shift on both strings move in an ascending
direction. In comparison to Figure 24 there is a marked increase in the shifts per note
ratio with the cycling plectrum stroke occurring with greater frequency.
From the standpoint of synchronization, an increased frequency of shifts creates the same
movement on each string. Plectrum motion on the high E string is an up-down-stroke
whilst the B string pattern is down-up. This provides a point of reference from which
plectrum strokes can be synchronized with position shifts.485
Lacking the strict three-note-per-string concept provides the middle position shift with
the need to alternate the transitional finger from the third to the first. Although more
difficult than using one finger in a sliding transition, the ability to swap fingers has
numerous practical applications within linear motion in general.
Further enhancing the technical development necessitates the revisiting of the sequential
idea, a concept used throughout the Caprices. Figure 26 utilizes the unique tuning of the
guitar to incorporate previously developed tools with a diagonal linear motion.
228485 Gilbert, Intense Rock 2, 1991.
Figure 26
This sequential pattern promotes a physical motion normally associated with ascending
melodic material whilst using descending scalic motifs in non-overlapping linear
movement.486 The transitional finger motion is similar in form and position to that of
Figure 25, with the difference being the movement to the adjacent string is on the same
plectrum stroke.
In order for this technique to evolve, the notes per position shift need to decrease,
illustrated here in Figure 27 with the notes per shift dropping from six to four.
Figure 27
This type of sequential idea, a stock device in tonal music, creates a less conventional left
hand movement. The technique can be used to access incrementally different harmonic
areas on the guitar neck.
486 Lane, Power Licks, 1989.
229
230
One major advantage of playing this kind of sequential pattern with large linear shifts is
the elimination of intricate plectrum motion between adjacent strings. When playing
Figure 26 and Figure 27 in a static position, the plectrum complexity can be extreme,
creating string-skipping in the longer sequences necessitating intricate inside and outside
picking movements. Using this technique attains a similar result as Figure 16 with a
diagonal movement contrary to the direction of the melodic material.
The development of this motion locks the plectrum hand into only one adjacent string
movement per linear shift. This in effect minimizes the danger of string noise whilst
allowing the right hand to traverse the strings in the same direction as the melody line.
6.6.7 Linear motion adjacent string summary
Pure adjacent string motion in conjunction with alternate-picking creates many
transitional options that occur throughout the Caprices. From a scalic perspective, notes
per shift ratio are relatively high with transitional points located on both the upper and
lower adjacent strings. At this point, plectrum stroke motion has developed with both
alternating and repetitive patterns. Due to the multitude of combinations that can occur,
movement to the adjacent string on any transition requires familiarization with the
combination motion of either an up-stroke or down-stroke.
With the introduction of arpeggios, however, this ratio of notes per linear shift drops
dramatically creating increased left hand movements. These include the overlapping and
non-overlapping positions which are regularly used as transitional tools to move from one
harmonic area to another within the Caprices.
With the introduction of sequential elements, the scope of linear motion is further
expanded. The resulting development allows diagonal incremental access to different
harmonic areas on the finger-board whilst minimizing the risk of excess string noise.
6.7 Linear motion, sequences, and arpeggios
To this point all string motion within the alternate-picking parameters has focused on
adjacent string movement and its various combinations as they relate to the Caprices.
However, with the basic tools of alternately-picked arpeggios, as established previously,
the introduction of the sequential idea requires the arpeggio notes to be played in
different note sequencing figurations.487
6.7.1 Note sequencing
Figures 28 and 29 illustrate a simple and more complex note sequencing idea, both of
which draw on an alternate-picking convention established in Figure 17. Whilst Figure
28 demonstrates simple two plectrum strokes per note, Figure 29 utilizes a multifaceted
sequential pattern which introduces string-skipping at a fundamental level.
Figure 28
‘Caprice No. 16’, bar 27
231487 Petrucci, Rock Discipline, 1995.
Figure 29
‘Caprice No. 16’, bar 36
Figure 30, illustrates the three main triadic figures, minor, major, and diminished, using
the same note sequencing idea seen in Figure 29.
Figure 30
As similar shapes have been dealt with in the sweep-picking chapter, the focus is on the
issues created by note sequencing in conjunction with alternate-picking, one of the most
fundamental being string-skipping.
Throughout all three arpeggios there is only one string that is skipped, which provides a
focal point for the positioning of the right hand. Figure 31 presents a cross-section of the
isolated string-skipping portion of the A minor arpeggio. This illustrates how the two
movements can be divided with each skip immediately followed by a simple adjacent
string movement.
232
Figure 31
The middle point is represented by the skipped string, the notes either side of which can
be reached without a change of position; this is similar to the hybrid positioning concept.
The plectrum strokes at the string-skipping point move in an optimal fashion towards the
next picked note facilitating what can be described as an “outside to outside” plectrum
motion.488 It is at this point that the hand requires repositioning in order to achieve the
next string-skipped interval with the same relative plectrum angle and dampening.489
Although string-skipping takes place, the actual incremental motion is similar to that of
simple adjacent string movement. However, the motion is executed by utilizing the wrist
in the right hand,490 as opposed to hand repositioning, which is a common technique in
string-skipping.
6.7.2 Reordering the fingering
In order to simplify the ascending and descending versions of the same arpeggio, the
same fingerings and finger-barrés have been retained. However, the note sequencing
aspect allows the guitarist ample time to eliminate the use of finger-barrés by continually
488 Gilbert, Guitar Techniques, 2006. 489 Observed in Gambale, Monster Licks and Speed Picking, 1988.
233490 Meola, Al Di. Picking Techniques. Milwaukee: Hal Leonard Publishing Corporation, 1987, p. 10.
reordering the fingering. Figure 32 illustrates this concept utilizing exactly the same
notes and sequential pattern as Figure 31.
Figure 32
One of the big advantages of utilizing this method of reordering the fingering is the
elimination of note differentiation difficulties which occur with a finger barré. This
specific exercise contains a grouping of four notes all of which occupy the same finger-
barré on the fifth fret. By rocking the finger a certain degree of note differentiation can
be achieved.491 However, the more complex the repetitive sequential note pattern is, the
more difficult it becomes to prevent certain notes over-running others creating a
“blurred” effect.492 With each note individually fingered, note differentiation is relatively
simple, as is note duration and staccato phrasing. One of the obvious disadvantages of
this technique is the loss of fingering economy that results from using finger-barrés. The
increased finger movement in the left hand is directly proportional to the speed at which
the arpeggios can be played. This factor limits the technical usefulness to less demanding
tempi; the upper tempo limit being dependent on the individual’s level of technical
development.
Another factor which impacts on the use of this technique is the importance that staccato
articulation plays in the melody line. The faster the arpeggio is played the more the
491 Observed in Bouillet, Improvisation for Progressive Hard Rock Guitar, 1989.
234492 Gambale, Monster Licks and Speed Picking, 1988.
finger-barred version increases in its usefulness; with note differentiation at extreme
tempi more difficult to discern.
As the string-skipping element of the arpeggio utilizes adjacent incremental string
motion,493 it provides an ideal starting point to familiarize oneself with the motion. It is
this fundamental form that provides the basis for the larger arpeggiated skips that follow.
6.7.3 Non-overlapping linear motion
Figure 33 illustrates the next obvious evolution of this technique drawing on elements of
transition, sequence, non-overlapping linear motion and string-skipping.
Figure 33
Unlike many of the previous transitions that involve moving the same finger to the new
position, this figure requires an exchange of fingers at each transition point. In addition,
transition points are synchronized to an up-stroke in a non-symmetrical fashion, all of
which occurs either immediately after adjacent string motion or string-skipping. This, in
combination with consistent outside picking,494 creates a situation where the dampening
part of the palm can spend undesirable amounts of time out of contact with the strings.
493 Observed in Romeo, The Guitar Chapter, 2000.
235494 Gilbert, Guitar Techniques, 2006.
With the palm requiring regular repositioning and pronounced movement the correct
plectrum angle relative to the string can easily be overlooked. With this in mind, Figure
34 integrates a sequential note pattern introduced in Figure 27, into the arpeggio pattern
minimizing the number of transitions. The amount of time that the dampening part of the
right hand is detached from the strings is consequently minimized.
Figure 34
The plectrum stroke pattern in Figure 33 is based around a single root note followed by
the third and fifth on the adjacent string. However, Figure 34 is the exact opposite with
the root and third occupying the same string with the fifth on the adjacent string. This, in
combination with an up-stroke on the initial note, introduces an uneconomic plectrum
motion that has been largely avoided up until this point. This culminates in the plectrum
stroke prior to each adjacent or string-skipped motion occurring in the opposite direction
to that of the new string. The fundamental difference between this and Figure 33 is the
need to lift the plectrum back over the already struck string to the new string. Although
extremely uneconomic, the development of this skill is necessitated by its appearance
throughout the Caprices, especially in combination with linear movement. The more
difficult areas of the exercise occur where the string-skip coincides with a plectrum
motion contrary to that of the subsequent string (clearly seen in the ossia staff). Although
only one string is being skipped, the plectrum in reality is essentially lifted over two
strings as it is followed immediately by another contrary motion to the adjacent string.
236
This must be done whilst avoiding inadvertently striking the two strings that the plectrum
is being lifted over.495 This skill is needed as it forms the fundamental cornerstone for
future development of the string-skipping technique.
Figure 35 is a triplet sequential pattern and, as with the three-note-per-string scales,
adjacent string motion alternates between economic and uneconomic plectrum strokes.
Figure 35
By inserting the sequential pattern into the same frets as in Figure 34 it is possible to
compare the individual fingerings, plectrum strokes and their differences.
While from a transitional perspective, the linear motion occurs at different points, it is the
plectrum stroke comparison that requires more attention due to the fact that the triplet
sequences are shorter; no string-skipping occurs as it does in Figure 34. This also makes
incremental motion to the new adjacent string area occur more rapidly. A solidly
anchored right-hand position can, therefore, only occur where a number of notes are
grouped on one string, the remainder of the time the hand is continually moving.
6.7.4 String-skipping alternate-picking in a static position
Figure 34 introduces the concept of string-skipping within a traditional broken chord
fingering pattern which provides a more open intervallic sound.496 However, string-
237495 Observed in Gilbert, Guitar Techniques, 2006.
skipping can occur in a multitude of different forms from that encountered in ‘Caprice
No. 1’ (heavily based on sweep-picking string-skipping) to the extreme seven-string skips
of ‘Caprice No. 16’ (Figure 36).497
Figure 36
‘Caprice No. 16’, bars 50-51
As was mentioned at its introduction, the hybrid method of note location eventually
becomes less frequently used, developing instead in conjunction with left-hand
repositioning. Future technical development reflects this, focusing on full hand
relocation techniques and its development issues.
An essential part of string-skipping is correct string location with the fundamental static
position scalic form providing an advantageous starting point. Figure 37 illustrates this
focusing solely on string location issues utilizing a single-string skip.498
Figure 37
496 Steve Morse, The Complete Styles. New York: D.I.C. Publication, 1991. p. 5. 497 Similar in principle to those observed in Richie Kotzen, Rock Chops, Seattle: R.E.H. Publications Inc., 1990.
238498 Observed in Marcello, Lee Marcello, 1991.
239
troke.
The basic plectrum pattern can be viewed as a variation of Figure 5 the difference being
the actual skip on the A string. The goal is the development of a fluid wrist motion that
maintains uniform string tone and dampening pressure499 and this is largely dependent on
retaining the correct plectrum angle relative to the string. The right-hand position
requires duplication on both strings; it demands simultaneous arm and elbow movement
in conjunction with a wrist motion.500 The arm and the elbow deliver the wrist to the
new position with the wrist moving the plectrum over the subsequent string, striking it
with an up-s
Once the motion for a single skip and its transitions has been developed the next
progression is to utilize single skips to different strings. Figure 38 illustrates an example
of alternating single and double string skips.501
Figure 38
The goal is the accurate instinctive location of the right-hand position with the only tone
inconsistency being produced by the changing string gauge. For this to occur, the notes
on the E string need to be used as the base from which other string-skipping motion is
gauged. Utilizing a base system allows other variables to be measured in relation to this
one string. In this case, the base string is fixed due to the repetitive note pattern,
499 Observed in Gilbert, Intense Rock 2, 1991. 500 Observed in Kotzen, Rock Chops, 1990. 501 Observed in Marcello, Lee Marcello, 1991.
240
however, once multiple skips are introduced the base string can also alternate depending
on the notes either side of it.
Skipping speed also alternates with the plectrum hand motion, needing to be faster for the
bigger skips in order to maintain note duration integrity. This aspect also functions as a
theoretical maximum in terms of tempo,502 in effect limiting the overall speed of the
piece of music to that of the largest string skip.
The incorporation of larger string-skipping motifs requires the plectrum pressure to be
altered in order to retain overall continuity. This is similar in principle to the relationship
between linear shifts and string gauge, the difference being a change in the gauge as
opposed to the length of the string. The base system can aid in these plectrum pressure to
string gauge ratio changes, the relative alterations being directly proportional to the base
string. As string-skipping becomes more pronounced, more radical pressure changes can
be needed the differentiation of which is helped when measured from a constant.
As plectrum pressure and palm dampening are not mutually exclusive an alteration in
plectrum pressure requires a corresponding alteration in dampening. Alternately-picked
string-skipping often encompasses the thinner gauged strings, which requires a noticeable
alteration of the aforementioned factors to maintain a balanced string tone. In this
particular case, less pressure is needed to dampen the flat-wound G string than its round-
wound counterpart, the D string. 503 Figure 36 shows the possible extremes that can be
502 Gilbert, Intense Rock 2, 1991. 503 The assumption being most guitar strings change from round to flat wound between the D and the G string respectively.
encountered and the extent to which plectrum pressure and dampening requires adjusting:
note density per string is another important factor that impacts on this.
Figure 39 encompasses more strings into the string-skipping formula whilst retaining the
same note per string density of Figure 38.
Figure 39
From the string-skipping perspective, the ossia staff clearly illustrates the skips that
require a more extreme arm movement in combination with the wrist. The adjacent
string motion functions as a middle point from which to prepare for the next four-string
skip. At this point the adjacent string motion can utilize a hybrid position so as to anchor
the hand whilst the arm prepares for the next string-skip movement. In effect, the new
anchor point functions as a new base string from which to launch the next string skip
much as it did in the previous figure. As string-skipping is largely dependent on relative
positioning, the ability to alter the base string is a valuable tool which allows the figure to
be viewed in two fundamental motions: the four string-skips and the adjacent string
motion. At the end of the first adjacent string motion, the base string is reset and the
same four-string-skip repeats itself.
In reality, nothing actually changes, only the relative perception of the initial string, the
consequent string-skips and their related finger positions. In addition to aiding in the
241
242
conceptual break down of the string-skipping portions, the changing relative base concept
also provides a secondary checkpoint. Hand position, plectrum angle, and string
dampening portion of the palm, need to mirror the original position on the initial string at
the secondary point.
Hybrid positioning of the hand within the alternately-picked string-skipping technique is
used to a minor extent where adjacent string motion is being utilized. Often a
combination of hybrid and string-skipping relocation can be used to different degrees
dependent on the situation. In this case, if a hybrid position is utilized between the G and
D strings, relative string-skipping distances between the E and the G strings will be
slightly different to that between the D and the E strings. Due to the fact that the high E
string is at the outside extremities of the fingerboard, the tolerance for variation is less
stringent. The difference in relative distance, therefore, is more easily adjusted to as it
falls within normal variational parameters.
With the exception of the low B string, the full ranges of relative plectrum pressure
changes within a static position are used. The largest alterations occur in relation to the
four string-skips; the adjacent string movement and its related incremental pressure
alterations are hardly noticeable.
Figure 40 takes the next step in the evolution of string-skipping alternate-picking through
the increase of string-skips per note ratio.
Figure 40
Unlike the previous musical example, there is no adjacent string motion in this example,
shortening the time that the right hand spends on the middle string. Therefore, there is
only a very short time to reposition the hand correctly at every skip, thus reducing the
amount of time the right hand spends on any one string. Consequently, a light, fluid
motion is required from the right hand in contrast to the more anchored approach
demonstrated in the previous figure.
With the increased movement between strings, the relative string-skips from the base
string must occur almost instantaneously. All the factors previously mentioned, such as
dampening and plectrum pressure must also be modified more quickly.
In previous string-skipping exercises, the plectrum motion has been relatively efficient
with movement to the subsequent string in the same direction as the plectrum strokes.
However, the efficient strokes in this exercise occur on the four-string-skips whilst the
strokes on the smaller skips are in the opposite direction to the subsequent string.
Becoming accustomed to the opposite outside plectrum motion on the smaller skips
allows the development and incorporation of this technique into larger skips.
243
So far string-skipping has utilized the same distances in both ascending and descending
forms. Figure 41 introduces skips that vary between their ascending and descending
patterns.
Figure 41
With the changing string-skipping pattern, the base string alternates between the low E
string for the ascending part, and the high E in the descending part. These two strings are
the point of reference (base string) from which subsequent skips are estimated. This in
effect helps the guitarist to become accustomed to any continually alternating reference
strings in conjunction with a constantly changing skip in both ascending and descending
forms.
As shown in Figure 36, extreme six and seven-string-skips occur throughout the
Caprices, making it imperative that the large skips are mastered. Figure 42 uses an
already familiar scalic concept to introduce the six-string skip.
Figure 42
244
The large skips are extremely difficult to execute if the correct plectrum pattern towards
the subsequent string is not used. The adjacent string motion allows for an anchoring and
preparation period before the larger descending skips are attempted.
This kind of skip requires a more extreme movement in the arm that can result in
incorrect placement immediately after the skip. The use of adjacent string motion on the
high E string allows for the use of hybrid hand positioning, the importance of which lies
in its variable parameters. Therefore, the large skip can be attempted from the slight
“misplacement” of the right hand that hybrid positioning ultimately promotes. Once the
relative distance between the strings can be ascertained intuitively, the use of both hybrid
positions and adjacent string motion as a development and location apparatus can be
eliminated. The resulting extreme string-skipping motion can be seen in Figure 43 where
the scalic skips per note ratio are arguably at their most fundamental.
Figure 43
As incremental development of this point has been relatively small, the increased motion
can be viewed as a simple modification of a three-note-per-string scalic pattern as
illustrated in Figure 5. Due to the two-octave differential, both strings utilize the same
fingering patterns, making focusing on the actual skip simpler.
245
As has been discussed, dampening and plectrum pressure are closely related. In this case,
the change between the two strings is more extreme: the plectrum pressure and
dampening therefore require increased adjustment, with the higher string needing a much
lighter approach. With the exclusion of the lower B string, these extreme changes
represent the outer limits within the framework of a static position.
6.8 String-skipping and linear shifts
Having addressed all the technical elements of string-skipping within a static position that
arise in the Caprices, an examination of linear motion within the string-skipping
parameters is required. Figure 44 shows two octaves of the same scalic idea in
conjunction with linear movement. As this string-skipping motion utilizes the same
fingering, it provides an ideal starting point.
Figure 44
Similar in nearly every aspect to Figure 37, the linear motion can be achieved by either
completely relocating the left hand or using one thumb position for both areas.
The interval of a major second at this position on the neck is relatively small and can
actually be performed with minimum movement of the thumb on the back of the neck.
The two distinct linear areas encompass a relatively small number of notes making this
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247
method one of the most efficient. In order to access both positions on the neck the thumb
is required to perform a pivoting motion.
There are a number of advantages that this method has over the total replacement and
relocation concept, most importantly in the speed that the notes can be accessed. With
only a pivoting of the thumb on the left hand, it is possible to access the new area on the
fingerboard with virtually the same finger position relative to the strings. In theory,
therefore, the new fingerboard area should be accessible at the same speed as the string-
skip alone. This is possible by simultaneous movement of both the thumb pivot and
string-skip motion.
Another advantage of the thumb pivoting method is the relative placement of the
fingerings. Assuming the initial placement is correct, the amount of movement that the
thumb requires in this position will be consistent, greatly reducing the chance of finger
misplacement. Moreover, by removing the need for the entire hand to shift position, the
possibility of relocating the thumb outside its optimal position is also eliminated.
6.8.1 Variable skips and the base string concept
Figure 45 further develops the technique through the use of the base string idea using two
alternating linear skips in conjunction with relative placement.
Figure 45
As in the previous exercise, a pivoting thumb is all that is required to execute the linear
motion. The parameters for correct thumb placement are greatly reduced with the
addition of the third string. Correct thumb placement can be defined as a placement that
can comfortably access all three fingerboard positions. Placing the thumb too far towards
the headstock can result in the need to twist the entire hand in order to reach the notes
that are subsequent to the linear motion. Placement of the thumb too far towards the
bridge can result in an unnatural bending of the thumb, which in turn places the initial
base string at risk of incorrect note fretting. Because all notes are placed relative to the
initial string, incorrect thumb placement can put these placements at risk.
Figure 46 introduces a number of new issues by increasing the ratio per note of linear
motion in conjunction with string-skipping.
Figure 46
248
249
Bar 1 uses a backward linear shift towards the headstock to gain the notes on the high E
string creating the least economic plectrum motion on the larger skip. All three positions
can utilize the same thumb pivoting as the previous exercise with the first and third
thumb positions being similar irrespective of the string choice.
However, bar 2 reintroduces the non-overlapping lineal movement in the third octave
being the same notes as bar 1 on a different string. Although the number of strings
skipped is smaller, the overall linear transition is greater and requires a different thumb
approach. Unlike the first bar, each grouping of notes requires the thumb to perform a
corresponding incremental position shift. This eliminates the need for a large movement
which occurs if the first two groupings are played with the same thumb position.
Plectrum pressure and dampening alterations also require adjustment, not exclusively for
string gauge but also for the shorter string length that occurs on the B. Relative
alterations need to be more radical than would normally occur for adjacent string motion
in a static position.
Figure 47 further reduces the skips and the note ratio incorporating the six-string motion
in combination with a descending sequential idea.
Figure 47
This type of descending melody line uses the high E as the base reference string. As a
consequence of the initial stroke and melody contours, all of the plectrum strokes
immediately prior to the string-skips are in a contrary direction to the subsequent notes.
This makes the six string-skips much more arduous, increasing the chances of
inadvertently striking a string in between the target notes. With the increased frequency
of inter-string movement, relative skipping distances are more difficult to judge
accurately, making precise thumb positioning essential.
A combination of incremental and hybrid thumb504 positioning is needed, the latter
helping to aid in the execution of the larger string-skipping sections. Hybrid placement
of the thumb is used on the six-string-skips in order to provide an anchor point from
which relative distance can be measured. In addition, minimal left hand movement at
these points promotes a more thorough focus on the larger motion by reducing the
number of variables that require consideration. The incremental shifts are limited to the
smaller string-skipping distances where plectrum stroke motion and linear motion are
most liable to achieve a successful result. As with many of these exercises there is no
250
504 Hybrid thumb position in this context refers to a thumb position that is used for two or more finger-board positions in the left hand.
absolute right way to perform the figure, which makes it necessary to provide two thumb
motion options.
Figure 48 demonstrates a practical use of the tools developed in Figure 47 with a less
extreme alternately-picked plectrum stroke pattern/linear movement combination.
Figure 48
‘Caprice No. 13’, bars 24-27
From a technical perspective, another of the aspects that this figure demonstrates
introduces the next area of technique that requires development: pedal tones.505
6.9 Pedal tones and string-skipping
Both ‘Caprice No. 2’ and ‘Caprice No. 12’ make extensive use of alternate-picking in
combination with pedal tones, creating a multitude of harmonic inversions with a
distinctive sound.506 This distinctiveness stems from the harmonic basis that the pedal
tone provides in combination with the number of reiterations per bar.507 In the case of
the two aforementioned pieces, repetitions of the pedal tone generally arise every seco
stroke with the majority of the content being single-note melody.
nd
505 Moore, Advanced Lead Guitar Techniques, 1987. ; Lynch, George Lynch, 1990. 506 Ibid
251507 Observed in Moore, Advanced Lead Guitar Techniques, 1987.
The harmonic reference note is established appearing both above and below the main
melody. From a technical perspective this provides a unique challenge as it has the effect
of lowering the notes per string ratio to 1:1 as in bars 25 and 26 of Figure 48.
Most of the string-skipping and linear motion discussed previously has been based
around developing the string-skipping tools in a three-note-per-string format. However,
lowering the note per string ratio facilitates the type of development needed to deal with
the pedal tone idea as seen here in Figure 49.
Figure 49
One of the recurring motivic ideas in the Caprices is the neighbour note idea which is
played using a variety of techniques. In the scalic form the fingers move one after
another in either an ascending or descending motion. However, the repetitive nature of
this technique dictates the main harmony or melody notes be continually reiterated as is
the finger fretting that note.508 Therefore, where the non-pedal tones occur physically on
the fingerboard, influence which fingers are used to fret those notes.509 In the case of
Figure 49, the non-pedal notes’ physical proximity are all below the pedal tone. This
requires the fourth and third fingers to be more active than is usual in three-note-per-
string scalic patterns.510
508 Observed in Moore, Advanced Lead Guitar Techniques, 1987. ; Malmsteen, Masters Series, 1991. 509 Observed in Marshall, Yngwie Malmsteen’s Style, 1986.
252510 Observed in Moore, Advanced Lead Guitar Techniques, 1987.
253
In normal scalic patterns the first finger provides the anchoring role, often remaining on
the fingerboard whilst the other fingers are placed relative to its position. However, this
musical technique often requires a fourth finger to play the anchoring role.511 The
difference is that the notes occupying the same string, but lower in pitch can only be
played when the finger in question is removed from the fingerboard.512 This creates the
need for an extremely strong and agile third and fourth finger, capable of prolonged
repetitive motion over multiple strings.
The control of note duration benefits greatly from the removal and re-fretting of notes,513
which, as a by-product, allows more control over lengths of staccato.514 However, one of
the obvious disadvantages is the limitation this places on tempo.515 With so much
increased interaction between neighbouring fingers, incorrect relative finger placement
and string location can also create problems. Moreover, the increased chance of
extraneous string noise created by incorrectly replacing the fingers and striking one of the
neighbouring strings also exists. This can be minimized by retaining the fourth finger
placement on the string. However, if the subsequent or previous note on the same string
needs to be played516 its removal is required.
6.9.1 Accessing pedal tones above and below the main string
Figure 50 illustrates multiple sequential string-skips with both inside and outside
plectrum motion.
511 Observed in Malmsteen, Play Loud! The Second Movement, Arpeggios, 1995. 512 Observed in Moore, Advanced Lead Guitar Techniques, 1987. 513 Observed in Jordan, Master Sessions, 1993. 514 Observed in Moore, Advanced Lead Guitar Techniques, 1987. 515 Observed in Malmsteen, Masters Series, 1991. 516 Observed in Moore, Advanced Lead Guitar Techniques, 1987.
Figure 50
The difference between this example and Figure 13 is the string-skipping component,
which requires development in order to progress past a scale-based idea. The initial
plectrum stroke dictates which of the string-skips have the more difficult picking motion.
In this case, the skips to the higher string are the more difficult; conversely, starting with
an up-stroke places the harder, less physically-efficient skip on the lower strings.
Therefore, the individual’s preference can be catered for by simply reversing the initial
stroke, a technique that can reduce the inefficiency of larger skips. For example, if the
more efficient plectrum strokes occur on the larger skips, with the less efficient on the
smaller skips, the overall motion is at its most economic (illustrated in Figure 51). When
the initial movement is a down-stroke, the larger string-skips to the high C note
exemplify an inefficient motion which can be remedied by beginning with an up-stroke.
This effectively retains the parameters of alternate-picking and its string tone qualities
whilst utilizing the more efficient plectrum motion on the larger of the two skips.
Figure 51
254
6.9.2 Pedal tones and finger-barrés
This concept and the string-skipping motion needed to access notes both above and
below the main string are illustrated in Figure 50 which functions as the precursor to
Figure 52.
Figure 52
Figure 52 revisits the neighbour note idea, through a constantly changing string-skipping
note which appears both above and below the primary string. Both of the skips are of
equal distance with the less efficient stroke occurring on the lower string.
The optional finger-barré exposes a number of issues that require closer examination.
Previously the fourth and third fingers have been limited to the neighbour note concept,
remaining on the same string. However, within this exercise they cycle between pedal
tones and melody notes requiring the third finger to perform the actual string-skipping
motion, which can be difficult. The optional finger-barré eliminates the need for this
kind of fingering motion which in itself requires correct placement on the first note of the
barré.
Shown here in Figure 53, the preparation for laying the finger-barré occurs as the B note
is being fretted. By positioning the fourth finger over the notes, all that remains to be
255
done once the B has reached its full duration is to depress the barré. This finger-barré
differs in as much as both directions of the skip occur in succession, requiring all three
notes under the barré to be cleanly fretted. In previous occasions the finger-barré has
only covered consecutive notes in one direction.
Figure 53
The positioning of the finger-barrés is defined by the normal fretting part of the fourth
finger being placed on the lower D with the rest of the finger being flattened out so as to
cover the C.
Because of the inefficiency of the plectrum motion on the lower finger-barré, it is
imperative to strike only the desired strings. This requires exact plectrum hand
positioning in conjunction with the correct plectrum angle. However, the second finger-
barré poses fewer difficulties due to a more efficient plectrum stroke motion.
As previously mentioned, third and fourth finger combinations can be extremely
problematic due to the natural weakness.517 The main staff provides the fingering to
develop the required stamina, including bracketed finger options that remove the need for
finger-barrés. These provide some new fingering challenges as the third finger skips over
a string to fret a note on the same string as the fourth finger. Generally, major or minor
256517 Vinnie Moore, Speed, Accuracy, and Articulation, New York: Hot Licks Productions Inc., 1988.
257
chord finger-barrés have the fingers ordered the opposite way round for comfort with the
fourth below the third finger. However, due to the pedal tone arrangement, elimination
of the finger-barré requires the third finger to appear both below and above the fourth
finger on the same fret. This provides the first string-skip with a more comfortable
“reaching over” motion than the second. The second requires the fourth finger placement
to be closer to the bridge side of the fret. In this way, the placement of the fourth finger
in no way impedes the positioning of the third finger under it; this is especially true if the
fourth finger remains in an anchor position.
At this fundamental stage, the interaction between the third and fourth finger is largely
optional with the finger-barré providing an easier alternative. However, as the pedal tone
technique progresses with larger string-skipping in conjunction with alternate-picking,
the finger-barré option becomes less viable. This is largely due to the physical
restrictions of the larger skips and is especially true when pedal tone arpeggiation occurs.
6.9.3 Larger skips and 1:1 ratios
As an intermediary development tool, the neighbour note concept serves to aid in the
growth of alternate-picking in conjunction with pedal tones. However, the technical
evolution needed to play the Caprices, requires a more concentrated one-to-one ratio with
the pedal note (seen here in Figure 54).
Figure 54
As has been seen previously, choosing the correct initial stroke can often provide a tempo
“ceiling”, one of the reasons why bars 1 and 2 both start with different strokes. If the
pedal note is struck first, the initial stroke should be in the same direction as the
subsequent melody notes. Bar 1 illustrates a descending melody with an initial up-stroke
contrasting with bar 2 which begins with a down-stroke. This type of initial plectrum
stroke in effect creates an “outside to outside” 518 picking motion which in the smaller
string-skips can be played with a hybrid right-hand position.
Unlike the descending version, the first finger can retain its finger placement throughout
with no impact on note duration. However, in the descending version, the fourth finger
needs to be lifted off and replaced for the first two melody notes which place them at risk
of being prematurely cut off. After all the notes occupying the same string have been
played it can still be prudent (although not technically essential) to control duration of the
pedal note by continuing to lift and replace it. As the string-skipping becomes more
extreme, the melody notes can be far removed from the pedal tone in terms of physical
proximity on the fingerboard. Therefore, the right-hand palm may require the extra
control that the fretting finger can provide for note duration and string vibration.
258518 Gilbert, Guitar Techniques, 2006.
Figure 55 shows a six string pedal motif, which includes a raised leading note, scalic
prolongation and changing pedal note. From the perspective of string tone, analogies can
be drawn between this and the opening passage of ‘Caprice No. 2’.
Figure 55
The main staff represents two different pedal notes and their fingering patterns within a
static position. This creates a number of complex fingering interactions.
Previously, the melody notes have been exclusively below or above the pedal finger in
terms of physical positioning on the fingerboard. However, bars 3 and 4 on the main
staff introduce the concept of melodic material arising on both sides of the pedal note
(played with the third finger). Due to the fact that only four notes above the pedal finger
require fretting with a minimum stretch the third finger is preferable as the pedal finger.
With the majority of melodic material occurring on or below the pedal tone fret, the
larger skips are more easily achieved with the longer first and second fingers. The result
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260
is that the fourth finger is assigned realistic fret string-skipping stretches. This avoids
some of the more extreme fingering variations that are possible within this exercise.
Additionally, bracketed fingering occurs throughout for the express purpose of
eliminating continually repeated fingerings. These are most prevalent in the ossia staff of
bars 3 and 4. At these points either the bracketed or the main notated finger can be
toggled in any desired order, eliminating fingering repetition that can become
cumbersome. One of the fingering anomalies previously not encountered, to avoid
fingering repetition, is the bracketed second finger in the fourth bar. Although, crossing
fingers in this fashion can be beneficial, as in this case, it is usually limited to semitone
motions. This is due to the larger intervals requiring extreme twisting of the wrist
position which makes their practical use extremely limited.
As has been discussed, the finger-barrés are a problematic solution to performing notes
several strings apart on the same fret. Their elimination, therefore, provides a further
opportunity to develop the string-skipping interaction of the third and fourth fingers
which extends the concept introduced in Figure 52. With the smaller fourth finger
retaining its position at the top of the fingerboard, the longer third finger is free to
execute the larger string-skips: from an ergonomic viewpoint, these fingerings are
relatively comfortable. However, as the string-skips incrementally become more
extreme, a slight motion in the left hand may be necessary towards the top of the
fingerboard to prevent any incorrect note fretting. With the elimination of finger-barrés,
a certain amount of finger crossing motion is required at these points. On these larger
skips incorrect note fretting is most likely to occur. Additionally, the aforementioned
261
movement in the wrist could require further alteration in order to retain realistic optimum
finger angle519 the amount of which is subject to the physical attributes of the individual.
As has been discussed, sequential motion is best broached by utilizing linear shifts of
which the ossia staff shown in bars 3 and 4 provides the linear alternative. The uniform
pedal action of the fourth finger and its pivoting role established in the first two bars can
also be retained.
Alternative plectrum strokes have not been offered because of their problematic
application especially on the largest skips. From a practical playing perspective, only
optimized plectrum motion will comprehensively cover the extreme string-skips in a 1:1
note per string ratio as it occurs both here and in the Caprices.
To this point, pedal tone melody has been restricted to scalic form to help develop a
fundamental set of techniques required to progress. Figure 56 clearly illustrates one of
many arpeggiated melody lines in conjunction with alternate-picking and pedal tones.
This extract effectively lowers the ratio of melody notes per string.
519 Martin, El Arte Flamenco De La Guitarra, p. 22.
Figure 56
‘Caprice No. 2’, bar 21
While the above example clearly illustrates the need to expand upon the arpeggiated
pedal tone idea, Figure 57 shows the next progression of the technique in both ascending
and descending forms. The actual arpeggio shapes within the pedal tone technique are
extrapolations of five-string and six-string sweep-picking versions that occur throughout
the Caprices.
Figure 57
The nature of pedal tone arpeggiation on the electric guitar dictates that the majority of
melody notes occur on different strings. This makes accurate note location more
difficult, yet the highest priority. Moreover, it necessitates a more in-depth look into the
plectrum motion of the right hand in conjunction with a modification of a hybrid
positional concept.
6.9.4 Hybrid positioning
Previously, right hand hybrid positioning has been utilized to bridge the gap between two
positions before moving into the new position. However, successful execution of the
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263
extreme string-skips presented in Figures 55-57 is more likely to succeed if a single right-
hand position with the ability to access all necessary notes is used.
The correct hybrid hand position can be defined as a point between the outer peripheral
notes where optimum plectrum angle relative to the string is achieved. Physical attributes
and preferences notwithstanding, this mostly occurs close to or exactly on the middle
string/s, in this case the D string. As the outer peripheral notes define the position where
the optimum plectrum angle occurs, they are continually being redefined dependent on
the musical context. Therefore, in situations where a good deal of pedal tone motion
occurs it can be necessary to reposition the palm slightly in order to achieve this
continuing advantage. Where the redefining of the middle string occurs’ is extremely
subjective and depends on a balance of tone quality, ergonomic comfort and the ability to
attain the objective notes.
With the optimum plectrum point being a virtual construct, melody notes that are not
exactly at this point can be problematic in tone quality. This can be especially significant
for notes on the outer peripherals. To minimize this, therefore, it is often prudent to alter
the plectrum angle slightly with the fingers holding the pick. With one hand position
servicing so many strings, certain compromises in plectrum angles and string tone are
necessary.
Figure 58 illustrates an example of palm repositioning within the Caprices in which it
differs in range and scope of movement.
Figure 58
‘Caprice No. 2’, bars 4-6
As this excerpt shows, changing the pedal string in bars 5 and 6 and lower peripheral
notes throughout, require slight alterations in the overall right-hand position at the
beginning of each bar. This raises an important issue: how many notes on the string,
especially in the melody, does it take to redefine a hand position? In bar 5, one note
appears on the lower B string; taking this into account means that the right-hand position
is anchored further towards this string. Although the majority of notes occur between the
E and the B strings, one note can influence plectrum position for an entire bar if taken
into account. This leaves two options excluding that note when calculating the overall
positioning of the palm or dividing the bar into two different positions. Although the
latter solution appears ideal, increased motion within a bar can be problematic in terms of
note location especially at faster tempi.
An extremely agile wrist motion is needed to strike all the notes whilst in a single hand
position.520 The by-product of a stationary position, however, is the inability of the wrist
to strike all the strings in the same position relative to the bridge. Working from the
premise that the plectrum is held between the thumb and first two fingers, a plectrum arc
is created, as illustrated in the graphic representation of Figure 59. This arc is a result of
520 Meola, Masters Series, 1991.
264
the twisting of the wrist to accommodate all the notes in the seven-string pedal tone
exercise such as 57.
Figure 59
6.9.5 Orchestrating optimized plectrum motion
Figure 60 introduces the concept of changing the pedal note from the high E string to the
low E string. Both ‘Caprice No. 2 and 12’ feature pedal tones both below and above the
melody, demonstrating the need to develop the ability to toggle between both.
Figure 60
Changing between the two pedal tones presents the problem of preserving the optimal
plectrum motion in the right hand. This is done through the use of a sweep-picking
motion immediately prior to the changeover by substituting an up-stroke for the down-
stroke on the A note (the original stroke bracketed in the above exercise). This method of
preserving optimal alternate plectrum motion is used throughout the Caprices although
most obviously in the aforementioned examples illustrated below (Figures 61-62).
265
Figure 61
‘Caprice No. 2’, bars 38-39
Figure 62
‘Caprice No. 12’, bars 30-31
The technique creates the minimal disruption to the plectrum motion, and can be
synchronized with the repositioning of the palm as in the case of Figure 60. Although the
problematic nature of repositioning the palm has been discussed, it can be useful in
altering the virtual optimized plectrum stroke position.
In the ascending second half of the bar, finger-barrés have been replaced by an
interaction between the first and second finger playing different strings that occupy the
same fret. This specific fingering can create a twisting of the wrist to accommodate the
second finger. One possible solution is to arch the first finger (in order to minimize
twisting) and accommodate the second finger beneath it.
266
6.9.6 Pedal tones and linear motion
Figure 63 introduces the concept of a linear shift to the pedal tone. This reduces both the
incremental melody note movement and time spent on the pedal tone.
Figure 63
With the introduction of diatonic linear motion within the pedal tone technique, the
transitional finger again plays a key role in the position shifts. Unlike Figure 60, in
which the pedal-tone shifts occur every two beats, Figure 63 subdivides that requiring
movement on every beat. Therefore, accurate location of the transitional finger is
essential as it functions as the only anchor position from which the relative fingering for
the non-uniform string-skips can be estimated.
Unlike the possible repositioning of the right hand, the hybrid position in Figures 58, 60,
and 63 must be executed from one hand position. The only other possibility is to
reposition the palm after every two notes which is both impractical and problematic.
6.9.7 Pedal tone string-skipping summary
In order to summarize this technique as it is utilized within the Caprices it is best to
divide it into three distinctive technical groups, scalic motion, arpeggiated motion, and
non-incremental skips, the order of which develops the techniques systematically from
the elementary scalic pedal tones to the more difficult non-incremental skips.
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268
Any finger can be assigned to the pedal note with the fourth and first finger being the
easiest to use. However, use of the second and third finger can create more problematic
finger interactions. This technique in combination with linear motion can be utilized to
eliminate much of this complex fingering which, in turn, is dictated by the actual pedal
note.
By utilizing mainly the first and fourth finger as the pedal, subsequent notes appear above
or below these fingers which can simplify relative finger positioning. This also allows
the pedal finger in question to retain its anchor position on the string as it only requires
removal where melody notes occur on the pedal note string.
Throughout this section right-hand positions and their movements have been discussed in
depth. The use of a hybrid position that flexes at the wrist to cover all the notes within its
reach is one practical option with the ratio of notes per string dropping to 1:1.
The optimal plectrum angle occurs at a virtual point between notes on the outer
peripheral strings. Therefore, dependent on the range of the melody notes and how much
of a bar is played in one right hand position, this point is largely mobile.
Right-hand movement was reduced incrementally throughout this section with Figure 63
played entirely in one position because of the impracticality of movement. This lack of
positional movement by the right hand facilitates the need to alter the plectrum angle
simultaneously with the wrist motion. This is necessary to accommodate all the notes in
positions outside where the optimum plectrum angle occurs. The degree to which the
alterations occur is dictated by the distance from the position where the optimal angle
arises. The plectrum arc illustrated in Figure 59 is a graphic representation of the wrist
motion from which the relative incremental change of angle can be extrapolated.
6.10 Beyond the pedal tone concept
Although taken from ‘Caprice No. 2’ Figure 64 illustrates the next step in the
development of the pedal tonal idea. Although this can arguably be viewed as pedal note
technique through association, the removal of a stable harmonic anchor creates a new
technical area for exploration.
Figure 64
‘Caprice No. 2’, bars 64-65
By moving both the top and bottom notes the harmonic anchor has not only been
removed but from a positional perspective, the linear shifts are free to be utilized on
every second note. This is especially true in the second bar where the first and fourth
finger can be used to play all the notes through linear motion in the left hand.
Irrespective of its technical definition, the removal of notes on the inner strings in
combination with linear motion, provide the next evolutionary step in string-skipping.
Figure 65 illustrates a number of techniques in combination with sequential linear
motion.
269
Figure 65
Unlike Figure 64, which can be played with the same fingering through the use of linear
motion, Figure 65 requires the fingers to cycle between peripheral strings. The fingers
must be continually repositioned, accurately fretting notes and being removed without
creating extraneous string noise. Because of the extreme nature of the string-skips, the
fingers are prone to accidental string pull-offs especially on the upper strings.
As in previous cases, the transitional finger plays a pivotal role in relative finger
positioning and linear motion. In this case, however, the transitional finger traverses six
strings in conjunction with its linear motion in order to access the new position. The
simultaneous nature of this motion requires the removal of all relative points of reference
except the visual one, making correct string and position location more difficult.
6.11 Three-note-per-string arpeggiation
Arpeggios in this section are solely dependent on the performer’s ability to make larger
left-hand stretches on the fingerboard in a three-note-per-string format. Therefore,
although they can be transposed to lower frets, they are centered around the 12th fret and
above.
270
Figure 66 continues the natural progression from the extreme string-skipping of Figure 64
and Figure 65. These extrapolations also serve as the precursors to the three-note-per-
string arpeggiation.
Figure 66
‘Caprice No. 1’, bar 46
Figure 67 illustrates this progression through the respective use of a C major and A minor
chord, which incorporates a similar non-overlapping sequential motion to that seen in
Figure 65.
Figure 67
At the string-skipping points it is possible to anticipate the motion in the left hand. In
Figure 68 the A note is fretted by the first finger whilst the fourth finger can be moved
into place just above the target fret.
271
Figure 68
In larger string-skipping motions, this can reduce response time considerably in addition
to preventing any noticeable attenuation of the note. This technique can be adapted and
used throughout this string-skipping section but it is most beneficial on the more extreme
skips such as those seen in Figures 65 and 68.
Figure 69 illustrates an A minor seventh chord utilizing the large stretches needed for
three-note-per-string arpeggiation. In the static position, the first and four fingers retain
the same five fret spacing with only the internal fingers changing.
Figure 69
The plectrum strokes can be approached in a similar manner to a three string three-note-
per-string scalic figure, the difference being that after each grouping of three notes a
right-hand position shift is required. By starting with a down-stroke, the larger E to G
string-skip utilizes the efficient picking whilst the smaller G to E string-skip is effected
using the less efficient plectrum stroke motion.
272
Figure 70 eliminates the seventh note making the stretches more extreme and
incorporates a three-note-per-string triadic figure in conjunction with linear motion.
Figure 70
Unlike its previous counterpart, the plectrum stroke motion begins with an up-stroke to
retain the optimized picking motion for the larger leap between the D and the E strings.
The note anticipation discussed in conjunction with Figure 67, can be modified to work
with the large finger spacing and linear motion. However, these factors also dictate
where the pre-movement can take place. The extreme stretches from the 12th to 21st fret
make it impractical (although not impossible) to pre-finger the notes whilst movement
from the 19th to the 14th fret facilitates this motion.
6.11.1 Summary
Three-notes-per-string arpeggiation is a technique that can be developed in conjunction
with alternate-picking and is easily adapted to most arpeggio patterns. Once the initial
plectrum stroke motion and string-skipping has been developed, the only limitation is the
ability to attain the extreme stretches required to fret the notes. These types of arpeggios,
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274
in conjunction with alternate-picking, can often provide more aggressive attack orientated
notes whilst retaining a solid rhythmic backbone.521
6.12 Chapter summary
Alternate-picking can be reduced to its fundamental form: single-string playing, adjacent
string motion, and string-skipping motion. These in turn fall into two left-hand
movement categories: static position and linear motion. From that point, the different
musical techniques such as sequencing, cyclic motion, and pedal tone motion branch out.
The structure of the entire chapter is built around the reoccurring theme of progressing
from groupings of notes with a high note-per-string ratio to that of a low one.
Another recurring theme throughout this chapter is the development and use of both
hybrid positioning and right-hand relocation issues. The hybrid position is often used in
order to strike multiple strings in rapid succession without the need to relocate the right
hand. As the note per string ratio drops, the practicality of position relocation in order to
preserve the plectrum angle relative to the string becomes more problematic. Therefore,
an average position between the two peripheral notes is used to estimate a position where
the virtual optimum plectrum angle occurs. Notes outside this position can require
plectrum angle readjustment, the degree of which is dependent on its relative position and
where it appears on the plectrum arc.
Hybrid thumb positioning, as mentioned in conjunction with a number of examples, is
defined as the same thumb position used for two or more fingerboard fret positions. This
is effected by pivoting the thumb as it maintains the same position on the neck.
521 Gilbert. Intense Rock 2, 1991.
275
Linear motion, transitional fingering and relative finger positioning are interdependent to
varying degrees making their correct execution essential. Moreover, much of the finger
placement is relative in nature to the transitional finger making exact linear motion
dependent on its correct positioning.
Finger-barrés are problematic in respect to controlling both note duration and string tone.
Therefore, many of the notes occupying the same fret on different strings are often best
individually fingered. Although this provides more control, it can result in a speed
reduction due to the loss of efficiency that the finger-barré promotes.
Another grouping of factors that share a number of things in common is plectrum
pressure, palm dampening and string elasticity, which includes string gauge. All these
factors are both directly and indirectly responsible for controlling string tone continuity
and variation, string dynamics, string attack, and to a certain degree, note duration and
articulations. The complex interaction and infinite variations that different combinations
of these factors create are aspects that personalize a musical performance. Developing
them in conjunction with the musical techniques of the Caprices is essential in
personalizing and realizing their musical potential.
The success of alternately-picked plectrum stroke motion is largely dependent on
choosing the correct initial stroke. As has been shown, manipulating the initial plectrum
stroke so that the larger skips utilize the more efficient plectrum stroke motion, gives the
string-skip the best chance for success. All other plectrum stroke choices are often
dictated by this.
276
Synchronization of plectrum strokes with linear motion is a technique also utilized
throughout this chapter. By synchronizing the movement of the hands it is possible to
coordinate either down or up-strokes with the left-hand fingerboard motion providing a
checkpoint. The checkpoint is utilized to avoid incorrect note duration and a number of
other factors which are most likely to occur where repositioning of either hand arises.
There are two types of anticipation discussed in this chapter: one concerns finger
movement as in Figure 67, the other relates to linear left-hand movement as in Figure 21.
Fingering anticipation can be used to minimize the amount of time between consecutive
notes that span a string-skip. This helps preserve the given note duration and ease the
transition. The left-hand anticipation that appears in Figure 21 is an aid to be used in
conjunction with linear motion in order to increase the speed of positional transitions.
Alternate-picking in regard to the Caprices is challenging due to the mix of musical
contexts, ranging from simple scalic melody to three note-per-string arpeggios and seven
string pedal skips. Nevertheless, these techniques greatly benefit from the aggressive
attack and continuity of string tone that alternate-picking provides.
277
Chapter Seven: Hammer-on and pull-off techniques
7.1 Introduction
There are a number of possible methods to create string vibrations, two of the more
conventional of which are plectrum use and hammer-ons and pull-offs. The former
creates a string vibration by hammering the finger against the string and the fret. The
pull-off, however, requires a finger to pull the string and release it to create a string
vibration as it returns to its equilibrium position. The distinctive qualities of the resulting
notes offer a myriad of musical possibilities.
Hammer-ons and pull-offs are generalized terms which refer to an entire battery of
techniques defined by generation and perpetuation of string vibrations. These include
left-hand hammer-ons and pull-offs, single-finger-tapping and multi-finger-tapping.
Multi-finger-tapping can be developed to such an extent that complete hand
independence can be achieved, allowing the performer to approach the fingerboard in a
pianistic fashion.522
7.2 Fundamentals
7.2.1 Use of hammer-ons and pull-offs within the Caprices
Within the transcriptions of the Caprices, hammer-on based techniques are used
considerably less than sweep-picking and alternate-picking and their various
combinations. The legato sound that can be created using hammer-ons provides a
valuable bridge between bow strokes and alternate-picking even to the extent of
522 Jordan, Master Sessions, 1993.
278
mimicking notes played under the same bow stroke. In this way it is possible to replicate
closely the original intentions of the composer. Thus, the technical contribution provided
by hammer-ons and pull-offs to the transcriptions of the Caprices is significant.
7.2.2 Legato bowing strokes and hammer-ons and pull-offs
Unlike the chapters on sweep-picking and alternate-picking, in which comparisons were
made between electric guitar and violin technique, parallels between legato execution and
hammer-ons and pull-offs are more difficult to draw. This is largely due to the
fundamental differences between the two techniques: legato bowing is an “on-the-string”
technique whilst hammer-ons and pull-offs are an “off-the-string” technique. Both
techniques are indicated by a slur over two or more notes.523 The hammer-on pull-off
slur indicates notes created within one continuous string vibration, which is similar in
principle to notes played under a continuous bowing stroke.
The hammer-on and pull-off technique requires little or no right-handed interaction with
the strings. This in itself creates a number of interesting parallels with legato bowing
techniques, one of which is the termination of the note by shifting to a new pitch, 524
which is reminiscent of the simple détaché bowing stroke.525 Within this technique many
notes are generated from an initial vibration which creates notes that vary only slightly in
amplitude, a desirable quality which also has its parallel in détaché bowing pressure.526
523 Galamian, Principles of Violin Playing and Teaching, p. 67. 524 Garsed, Rock Fusion, 1995. 525 Galamian, Principles of Violin Playing and Teaching, p. 67. 526 Ibid
279
Many of the nuances in tone quality that are possible within the duration of a single
note527 cannot be replicated on the electric guitar. However, many of the faster détaché
bowing strokes have much in common with right-hand finger-tapping technique. One
such example is portato or louré, where individual notes under the same bow stroke are
separated by gaps attained by either stopping the bow on the string or lifting it from the
string.528 In a similar way, right-hand finger-tapping can create the same effect by
independently generating string vibrations for each consecutive note. These string
vibrations can be terminated by lifting the finger from the string before proceeding to the
next note. Although not strictly produced under the same string vibration in the portato
manner, the note created exhibits many similar characteristics. These include note
duration, attack and swell after the initial attack. 529 In these cases, a gradual decrease in
amplitude occurs after the initial attack, which, on the electric guitar, is created by a
natural decay in vibration rather than by design, as it is in the violin stroke.530 Other
technical similarities between the instruments can be seen in détaché lance and fouetté:
these bow strokes also have breaks between notes similar to the autonomous note
generation arising in multi-fingered tapping on the guitar.531
Many of the same problems that plague legato string crossings also occur with the
technique of hammer-ons and pull-offs. One example of this is inadequate time available
to position the fingers on the new string (pre-fingering) or the need to attenuate the note
that precedes the string crossing.532 A fundamental difference between the two is that
lifting the bow from the strings on the violin stops the note immediately preceding the
527 Galamian, Principles of Violin Playing and Teaching, p. 68. 528 Ibid 529 Ibid 530 Ibid 531 Galamian, Principles of Violin Playing and Teaching, p. 69. 532 Galamian, Principles of Violin Playing and Teaching, p. 66.
crossing point.533 On the electric guitar, however, lifting the fretted finger to cross the
string terminates the preceding note.
7.2.3 Initial vibration
There are a number of technical imperatives that apply to hammer-on and pull-off
techniques. To avoid reiterating them in every section of this chapter they will be
addressed before the relevant sections occur. A fundamental issue for all of these
techniques is the creation of clean and usable string vibrations.
Figure 1 illustrates a fundamental three-note-per-string pattern, with the initial vibration
points on the first note of the ascending figure.
Figure 1
One method of achieving the initial vibration is to hammer the first finger of the left-hand
against the seventh fret. Once the first finger has initiated the string vibration it is
prolonged by the other fingers on the subsequent notes.534 In order to maintain an even
dynamic level between notes, however, the continuation of the initial vibration is often
reduced in intensity. Although this type of initial vibration does occur in single-note
legato melody (negating the use of the plectrum completely)535 it is more often associated
533 Galamian, Principles of Violin Playing and Teaching, p. 66. 534 Observed in Howe, Hot Rock Licks, 1989.
280535 Becker, The Legendary Guitar of Jason Becker, 2007.
with multi-finger-tapping in which the generation of the initial vibration can often only
be done with the fingers.
Figure 2 is an illustration of this: both hands are assigned to either the melody line or
harmony which requires a simultaneous generation of the initial string vibration. As the
melodic line and harmonic accompaniment increase in complexity, it becomes extremely
difficult to generate the initial vibration through any other method than a hammer-on.
Figure 2
‘Caprice No. 20’, bars 1-2
Returning to Figure 1, it is important to note that the initial vibration is often started with
a plectrum and the subsequent notes are played with hammer-ons.536 This approach is
commonly used by many players. It increases the technique’s potential speed, by
eliminating the need to lift the left hand any significant distance from the fingerboard to
initiate an adequately strong initial string vibration.537 Although there are exceptions to
this rule, the technique of striking each new string with the plectrum in order to start the
initial string vibration is used by many players.538
536 Gilbert, Intense Rock, 1988. 537 Moore, Speed, Accuracy, and Articulation, 1988.
281
538 Paul Gilbert, Michael Angelo, Greg Howe, Vinnie Moore, Yngwie Malmsteen are a few of the notable players that utilize this style of technique.
7.2.4 Pull-offs and fingering positions
The continuous vibration introduced in Figure 1 raises an interesting point about the
positioning of the fingers on and off the string after the note has sounded. This issue is
interwoven with the practical use of pull-offs, as shown in Figure 3.
Figure 3
In a three-note-per-string single-string melody both hammer-ons and pull-offs utilize the
plectrum stroke to initiate the string vibration. As has been defined, a pull-off is a note
generated by pulling the string with the finger and releasing it. Generating a tone in this
fashion, however, requires the fingered note immediately after the pull-off to be
positioned to continue the string vibration. Pull-offs, therefore, are usually utilized for
descending patterns with a pre-fingered position being integral to its successful
execution.
Figure 3 can be played in its entirety through the utilization of hammer-ons. In order to
do so, however, each finger needs to be removed from the string cleanly and then the
vibration restarted on each note by its corresponding finger. Although seemingly
impractical for normal left-hand playing, multi-finger-tapping utilizes this method on a
regular basis.
282
The descending portion shown here requires all the fingers to be in position for the pull-
offs sequence to be effective.
Figure 4
Finger pressure can vary on the non-sounding notes until the pull-off vibration reaches
the finger in question. At this point, normal fretting-finger pressure should be applied.539
When making extensive use of hammer-ons and pull-offs, as in Figure 3, many players
find it easier to leave the first finger in position. This promotes a “rolling”540 of the
remaining fingers onto the notes in the ascending version, with the subsequent pull-offs
already in position.
7.2.5 String action
The ability to hold down or maintain finger position on the string brings to light string
action, one of the most important issues about this group of techniques. Low action is
preferable 541 when employing any combination of hammer-ons and pull-offs or finger-
tapping. This effectively reduces both the time it takes to depress/hammer the string and
the amount of effort to do so.542 It is noteworthy that if the action is too low when doing
any kind of tapping, the strings vibrational displacement can be adversely affected. This
occurs when the string vibration reaches an amplitude, where it hits the unused frets
between the bridge and the fretted note. Effectively this alters the string’s natural
539 Observed in Garsed, Rock Fusion, 1995. 540 Ibid 541 Jordan, Master Sessions, 1993.
283542 Garsed, Rock Fusion, 1995.
284
e
e
er when so desired.548
vibrational constant and in doing so creates a “string buzz”.543 This limits the string tone,
dynamics and the string’s natural ability to sound clearly: and in turn limits the ability of
the pickup to sense and transmit a clear string vibration.
When utilizing the plectrum to generate the initial string vibration, the difference in
attack and timbre to the subsequent hammer-ons/pull-offs becomes apparent.544 A
number of different methods can be utilized, however, to smooth the transition between
the two different attacks.
In standard alternate-picking, the string gauge and plectrum pressure affects the initial
attack of the note545 whilst hammer-ons and pull-offs have virtually no initial attack. In
order to minimize the disparity between the two, minimal pressure is required when
holding the plectrum.546 This aids in minimizing the initial plectrum attack,547
effectively allowing it to flex more when it strikes the string. This method reduces th
abrasive attack of the pick on the strings and makes the sound more homogenous with th
legato sound that hammer-ons and pull-offs generate. Nonetheless, striking the string
with insufficient power to create a strong enough vibration can adversely affect the
volume for consecutive notes. When developed, however, the difference between
plectrum attack and subsequent hammer-ons and pull-offs can become almost
indistinguishable from each oth
543 Jordan, Master Sessions, 1993. 544 Gilbert, Guitar Techniques, 2006. 545 Garsed, Rock Fusion, 1995. 546 Lane, Power Licks, 1989. 547 Ibid 548 Ibid
285
The previous paragraph raises an important question about overall dynamic control when
utilizing hammer-ons and pull-offs. Many players utilize some type of distortion in
single-finger finger-tapping to create a smooth, dynamically homogenous string tone549
through its natural affinity to compress the guitar sound.550 However, one of the
disadvantages of using distortion/compression for dynamic equality is the narrowing of
the available range for effective accents and other dynamic nuances. Because this occurs
naturally, accents above the compression threshold are “squashed down”, making
dynamic effectiveness directly proportional to the quantity of distortion used.
Another adverse affect of using distortion is its degree of effectiveness in playing
multiple parts. Whilst single note melody responds well to the use of distortion, multi-
finger-tapping that uses independent melody lines and harmonic accompaniment can
respond poorly to the use of excess distortion. Often the resulting inability to
differentiate independent melodic characteristics, dynamics, and melodic contours far
outweighs its benefits. However, some guitarists avoid this by using either double-neck
guitars 551 or two guitars (one on a stand),552 both of which are run into separate pre-
amps. This helps separate the independent elements, allowing each to be controlled
through individual amplification settings appropriate to their roles.
This type of multi-fingered-tapping also raises the minor question of volume
discrepancies between individual fingers. These occur when a finger is hammered with
549 Heard in ‘Eruption’, Van Halen, Van Halen, 1978. 550 Ted Fletcher, ‘Recording in the Real World’, http://www.tfpro.info/masterclass/5sep05.html; accessed 16th April, 2007. 551 Observed in Michael Angelo, http://www.deanguitars.com/angelo/mab_videos/ ; accessed 16th April 2007. 552 Jordan, Master Sessions, 1993.
either insufficient or too much force.553 In contrast to plectrum note generation, where
the finger simply depresses the note, hammer-on techniques require a string vibration that
is strong enough to be self-perpetuating. Each finger, therefore, requires the same
strength and dexterity in order to perpetuate string vibrations at equal dynamic levels.
Two premises often hold true when identifying problem issues when generating notes
with the fingers: the fourth finger is often the weakest and the third and fourth finger are
the hardest to coordinate.554 Although this is a generalization, it holds true for both
hands and for techniques ranging from simple hammer-ons and pull-offs to full double-
handed independence.
Figure 5 illustrates a fingering exercise that utilizes hammer-ons and pull-offs on both
hands. In order to facilitate technical proficiency, both should be practiced independently
before being attempted together.
Figure 5
One of the more confusing concepts to grasp with an exercise of this nature is that the
lower right-hand part occurs higher up the neck than its left-hand counterpart. This can
cause some confusion due to the conventional experience in guitar playing that the higher 553 Jordan, Master Sessions, 1993. 554 Gilbert, Guitar Techniques, 2006.
286
287
up the neck the higher the pitch. However, its introduction at this basic level coincides
with the appearance of independent note generation in its embryonic stage, an idea
pursued further in the multi-finger-tapping section of this chapter.
Utilizing the same fingering, the positioning of the right-hand occurs from above the neck
whilst the left-hand assumes the more traditional role from below. This creates a
fingering anomaly where the same or very similar rules that apply to the left-hand are
now valid for the right-hand.555 Some of these include fingering angle, note fretting, and
arm positioning556 although from a development perspective the ability to use the same
fingering on both hands is important.557
At this fundamental level the melody contours and the fingering are the same; the more
difficult concept to grasp is the utilization of different intervals between frets. This
represents one of the first basic steps towards separating the two hands, which reaches its
full potential in guitarists such as Stanley Jordan.558
7.2.6 String gauge and dynamics
There are a number of interconnected dynamic concerns that Figure 5 raises, including
dynamics within an individual hand and dynamic balance between the hands. As in
pianistic technique, uniformity of tone, note duration, and dynamic level are desirable
although the latter is linked to some extent to string gauge.
555 Jordan. Master Sessions, 1993. 556 Dependent on the individual's physical attributes modifications may be required. This is largely due to the difference that occurs when approaching right-hand fingering from above the neck. 557 Jordan. Master Sessions, 1993. 558 Heard throughout, Jordan, Magic Touch, 1985.
288
Unlike piano technique, in which pressing a finger on to a key activates a hammer which
then produces a sound by hitting the string, there are no intermediate steps in the
generation of sound with finger-tapping. As a consequence, the actual tapped notes are a
direct result of hitting the strings with the fingers and this has both positive and negative
aspects. On the positive side, the guitarist is directly responsible for the quality and
clarity of each individual note: this gives him the ability to control note characteristics
such as vibrato, which, as with many other note colourings, are impossible to produce on
the piano with conventional technique. A negative aspect of this, however, is the lack of
an intermediary device to strike the strings, which means that the hand and fingers need
to be in exactly the right position every time a note is struck. This can be problematic
when excessive movement around the fingerboard is necessary and the problem is
exacerbated further by the need to strike different string gauges in a way that produces
the same dynamic level.
As the tapping motion involves hammering against both the string and the fret
simultaneously, the heavier the string gauge, the more weight there will be behind the
hammering motion. If tapping pressure is exactly equal, this makes the heavier gauge
round-wound strings louder in comparison with the smaller flat-wound strings.559
Consequently, as the string gauge alters incrementally across the tuned spectrum so too
does the amount of pressure required to tap an even melody line that spans any number of
strings. Thus, the achievement of an even dynamic volume is dependent on the ability to
modify the tapping strength in proportion to the difference in string gauge.
559 Kolb, Playing in the Style of the Fender Stratocaster Greats, 2005.
289
7.2.7 Thumb role
Dynamic levels, hammering strength, vibrato and multiple-hand positional movement,
are all reliant on the fingers’ ability to generate a clean usable string vibration. With so
many factors in the “technical mix”, a central reference point against which multiple and
single hand techniques can be constantly checked is a necessity. More often than not, the
thumb is used in this role on both hands.
Many of the thumb functions have been explored in conjunction with both sweep-picking
and alternate-picking. However, it now takes on an additional role within the hammer-on
technique family. Continuous generation of string vibration that is the mainstay of this
technique requires the thumb to work in opposition to the increased finger pressure.560
Although this concept is not new, the same principles can be applied to the right-hand for
multi-finger-tapping with the right-hand thumb position on the top of the neck.
A downwards pressure from the thumb on the right-hand is needed if it is to retain its
position on the top of the neck and provide the necessary opposing pressure required by
the fingers. The relationship between the thumb and the fingers is slightly different to
that between the hands. As we have already seen, the left-hand fingers and thumb create
a gripping motion which is central to the perpetual creation of the string vibrations
needed for hammer-ons and pull-offs. However, as Figure 6 illustrates, the right-hand
thumb position is held in place through the utilization of a light downwards pressure
against the top of the neck.
560 Martian, El Arte Flamenco De La Guitarra, p. 22.
Figure 6
Plectrum
This changes the function of the thumb from a gripping motion essential for opposing
pressure to that of a combined reference or anchor finger. Thumb positioning will be
discussed in conjunction with specific right-hand finger-tapping later in this chapter.
7.2.8 Plectrum usage before, during, and after
Many of the finger-tapping techniques do not appear in isolation from other techniques.
It is necessary, therefore, to work out a practical strategy for changing between plectrum
generated notes and the various types of finger-tapping. As there are very few
standardized rules in this area, placement and retrieval of the plectrum can be based
around one simple objective - speed. The plectrum requires storage when not needed and
instant, imperceptible retrieval when required.
Figure 7 illustrates one method of storing the plectrum during a passage which leaves all
other fingers free to be utilized for multi-fingered tapping.
290
Figure 7
Plectrum
Placement of the plectrum in this fashion allows the thumb to function as an anchor point
whilst retaining its role as a pivoting reference point.
Figure 8 demonstrates an alternative utilized by many players for single-finger-tapping.
This requires the plectrum to be placed between the first and second knuckle joint of the
second finger.561
Figure 8
Plectrum
This adaptation of the technique is slightly more difficult for multi-finger-tapping as the
plectrum needs to be retained whilst the fingers are engaged in the tapping motion.
However, the length of the second finger allows its position, with practice, to retain
enough curvature relative to the string to hold the plectrum securely in place. Although
291561 Gilbert, Guitars from Mar 1, 1996.
292
more difficult, it facilitates the ability to change between single-finger-tapping and multi-
finger-tapping without moving the plectrum between the two storage points. This can be
extremely useful when a passage alternates between the two techniques while still
demanding a stationary thumb anchor point. Moreover, by placing the plectrum in the
thumb joint the two tapping techniques can be alternated.
In addition to these methods many players have idiosyncratic preferences in the
placement of the plectrum, which are often determined by the musical context.562 This
having been said, placement method for Figures 7 and 8 are relatively easy once the
movement becomes familiar. In Figure 8, the thumb slides the pick down the second
finger into position, whilst in Figure 7, the plectrum is moved into position on the thumb
with a similar motion by either the first or second finger.
7.2.9 Sympathetic string vibrations
Extraneous string noise and its elimination is a constant theme in electric guitar
technique. However, the issue becomes most critical in hammer-ons, owing to the
physical hammering motion against a solid guitar neck. This creates not only the desired
string vibration but the less desirable vibration of the neck. As the neck and the body of
the guitar are connected this vibration can transfer itself to neighbouring strings, which,
left unchecked creates an ambient noise floor. Many players also utilize distortion when
employing consecutive note single-finger or multi-finger tapping. This can further
exacerbate the vibrational aspects by “sensitizing” the strings. For this reason many
players utilize noise reduction technology such as noise gates and hush units.
562 Brad Tolinski, ‘Mob Rules’, Vol. 11, No. 10, November 1990, pp. 46-96.
293
ations.564
Unfortunately, this can create its own problems when playing music with extremely soft
dynamics since the threshold sensitivity of the units can cut off the quieter notes.
In the plectrum-generated techniques of sweep-picking and alternate-picking there are
many physical factors that can be used to prevent unwanted string vibrations. Hammer-
on techniques, however, require a more legato approach in respect to modification of the
natural string decay constant. Consequently, this “hands-off” guitar technique has fewer
physical resources immediately available to control unwanted string noise. Nonetheless,
each individual hammer-on technique has a number of methods for controlling unwanted
string vibration. Simple left-hand hammer-ons and pull-offs still have the right-hand
palm available563, which can be lowered onto unused strings below the target notes.
This, in conjunction with the use of the left-hand fingers above the target notes, is
effective in eliminating most unwanted string vibr
Single-finger finger-tapping in the Van Halen style can also use the palm of the right-
hand and the fingers of the left to eliminate string noise. However, the ability to both
lower the palm and move it simultaneously whilst continuing an uninterrupted stream of
notes is more problematic than its left-hand counterpart.
The natural expansion of this technique into multi-fingered consecutive single-note
tapping also uses the left-hand fingers to mute strings above the target notes. However,
as Figures 6 and 7 clearly show, the right-hand palm is in no position to be lowered onto
the strings in a muting action. Unused fingers on the left hand, however, can be utilized
563 Paul Gilbert, 11000 notes, Hong Kong: Batgirl Records, 2000. 564 Observed in Gambale, Monster Licks and Speed Picking, 1988.
294
to prevent string vibration. This is achieved by laying the fingers across the unused lower
strings. Although extremely problematic due to its dependence on the fingers available,
it can be relatively effective. One other method of muting the unused strings below the
target area is through the use of a floating thumb position. This removes the thumb from
its anchor position “laying” it across the unused strings below the target string. This
effectively removes the anchor position and reference point for right-hand finger-tapping,
which makes it one of the most difficult of all the muting techniques. Moreover, the
anchor position moves from the right-hand thumb to the right-hand forearm where it
naturally rests on the guitar body. However, the absence of an anchor point in the
immediate vicinity of the right-hand fingers makes it easy to “hit” the strings
inadvertently creating unwanted string vibrations rather than muting them. The origin of
the problem can be traced to the placement and removal of the fingers from the string,
which requires an extremely delicate touch. Inadvertent string noise can be further
exacerbated by the use of low action, a set up favoured by many players who use these
techniques.
Multi-finger tapping that utilizes independent harmonic and melodic lines can also use
the muting techniques described above. However, there are a number of muting devices
available, like the example illustrated in Figure 9, which completely eliminate the need
for complex muting solutions.
Figure 9
Such devices have the added advantage of being able to be used where and when needed
as they can be lifted or lowered onto the strings at will. Figure 10 shows one device on
each neck allowing each hand to play independent lines whilst eliminating unwanted
string vibrations.
Figure 10
Unlike sweep-picking and alternate-picking, in which modifications to the played string
occur, hammer-on/pull-off techniques usually mute non-played strings to avoid
inadvertently stopping the string vibration. This distinction requires increased vigilance
when targeting strings for muting.
295
296
7.2.10 Summary
As has been outlined above, there are a number of technical issues which, to varying
degrees, are common to all members of the hammer-on family. Many of these concern
the method of generating the continuous string vibrations that are the foundation of the
entire technique.
Once the problem of string vibration has been addressed it is necessary to consider
interrelated issues, including plectrum storage and retrieval, thumb pivoting and reference
points, dynamic interaction between hands and their relation to string gauges and
different methods of noise reduction in relation to the different finger-tapping techniques.
Having dealt with technical issues common to hammer-on techniques our attention now
turns to specific technical problems.
297
7.3 Left-hand Hammer-ons and Pull-offs
7.3.1 Introduction
The terms hammer-on and pull-off in this section describe the left-hand technique that
either initiates or continues a string’s vibration. One of the most obvious musical aspects
of this technique is the production of notes with very little attack; it is particularly suited
to legato playing and contrasts markedly with the strong attack of plectrum generated
notes. The technique can be utilized in most situations where alternate-picking or sweep-
picking occurs, creating a legato quality to the sound.
7.3.2 String motion and plectrum use
Much of the technical basis for plectrum use has been addressed in the alternate-picking
chapter. In general terms, a plectrum stroke initiates the string vibration 565 with
consecutive notes continued with hammer-ons and pull-offs. This method is widely used
566 because it minimizes the plectrum's more abrasive attack on the legato characteristics
of hammer-ons and pull-offs.567
Figures 11 and 12 illustrate how in a practical playing situation three and four-note-per-
string scales with hammer-ons and pull-offs can be combined with an initial plectrum
stroke on each string.
565 Gilbert, Guitar Techniques, 2006. 566 Observed in Holdsworth, REH Instructional Video, 1992. 567 Garsed, Rock Fusion, 1995.
Figure 11
‘Caprice No. 17’, bar 21
This extract not only illustrates the practical use of striking each new string with a
plectrum stroke but also how the more difficult finger-generated string vibration may be
applied.568 By its very nature the continuation of the string vibration requires the third
finger to be in position by the time the note generated by the fourth finger has reached its
full duration. In order to achieve this, two equally valid methods can be utilized. The
first involves hammering all four fingers onto the string at the same time, placing them in
their correct fret positions whilst generating the initial vibration. Due to the design of the
guitar, however, only the initial vibration created by fretting the string with the fourth
finger will sound. The second and marginally more difficult method requires the
positioning of the first three fingers on their respective frets prior to the initial string
vibration. A fourth finger hammer-on then creates the string vibration that the other
fingers are in a position to continue. In contrast to the previous method, a dynamic
limitation is created by the distance that the fourth finger can be lifted from the string
while its counterparts remain in position.
298568 Garsed, Rock Fusion, 1995.
Figure 12
‘Caprice No. 17’, bar 23
7.3.3 Relationship between bow strokes and hammer-ons and pull-offs
This discussion also revisits an issue raised in the introduction concerning the use of
these guitar techniques in conjunction with the original bowing strokes. In order to retain
the kind of uninterrupted flow of notes created by the bowing motion in Figure 13,
minimal or no use of the plectrum is needed.569
Figure 13
‘Caprice No. 17’, bar 23 (given edition)
When comparing Figures 12 and 13, a break up of the natural flow of notes through
intermittent plectrum strokes becomes apparent. However, fluidity can be preserved by
reducing plectrum pressure at these points, which minimizes the abrasive plectrum attack
at the string crossing points. With this in mind, some guitarists substitute the stronger
down-stroke at the string crossing points for the weaker up-stroke.570
569 Observed in Becker, The Legendary Guitar of Jason Becker, 2007.
299570 Gilbert, Guitar Techniques, 2006.
Figure 14 is the ascending version of Figure 12 with the plectrum creating the initial
vibration at each adjacent string crossing point.
Figure 14
‘Caprice No. 17’, bar 11
By applying the aforementioned technique, all ascending and descending scalic patterns
in the Caprices fall into the same categories as those in Figures 12 and 14. This negates
the need for complex picking patterns at string crossing points.
With some exceptions and modifications already discussed, the majority of the
information in the alternate-picking chapter can be applied here. The scope for
development, therefore, can be narrowed to an area covered by neither of the techniques.
7.3.4 Ornaments and their role in developing hammer-ons and pull-offs
Ornaments provide a valuable vehicle for the development of hammer-ons and pull-offs.
They aid in the development of the dexterity required to create string vibrations, which
are even in both duration and dynamic level. Due to the nature of ornaments it is
essential to work on smaller cells developing them before any larger passages can be
attempted.
300
7.3.5 Trill and neighbour notes
A neighbour note can more accurately be described as an auxiliary non-harmonic note
approached by an interval of a second from its principal note. 571 Moreover, it can appear
immediately before or after the note in question.572
Figure 15
‘Caprice No. 10’, bars 5-6
Figure 15 illustrates a typical neighbour note sequence which is similar in some respects
to the original in terms of bowing strokes and note groupings. Each grouping of six notes
is subdivided in two; the first three notes begin with a trill and are of primary concern as
the second three alternately-picked notes have been addressed in the alternate-picking
chapter. The excerpt also illustrates a number of techniques that require more detailed
examination.
7.3.6 Trill and neighbour notes
From the perspective of electric guitar development, trills provide their own technical
challenges within the framework of hammer-ons and pull-offs. Irrespective of whether it
begins on the upper note or the note itself and ends with a turn or not, trills provide an
ideal opportunity for the technical development of hammer-ons and pull-offs.
571 Dr Tom Pankhurst, ‘Neighbor Notes’, http://www.schenkerguide.com/neighbournotes.html; accessed 17th April 2007.
301572 Marshall, Yngwie Malmsteen’s Style, 1986.
Figure 16 illustrates one possible interpretation of a trill starting on both the main note
and the auxiliary note respectively.
Figure 16
The initial vibration can be started either with a hammer-on or a plectrum stroke. If the
hammer-on is used, the second trill requires the first and second fingers to be placed
simultaneously on the string which is analogous to the pre-finger placement in Figure 11.
Figure 17 incorporates the third and fourth finger trill into a neighbour note sequence
similar in form to the extracted passage of Figure 15.
Figure 17
The finger placement on the main staff promotes an uninterrupted string vibration and
creates a legato feel similar to that provided by a bow. Although difficulties can arise
due to the inherent weakness of the third and fourth fingers, the main staff fingering
option eliminates the need for any left-hand movement. Once the initial string vibration
has started, therefore, its continuation can be effected with relative ease.
302
303
The ossia staff provides a fingering option that incorporates left-hand slides which, from
the perspective of fingering, is more comfortable since it uses fewer fingers. However, it
also provides more of a challenge in terms of generating a continuous usable string
vibration. This is achieved through the retention of the fretting pressure throughout the
sliding motion.
The self-perpetuated string vibration is most at risk of being inhibited at the point where
the finger slides from one fret to the next. This is where the finger passes over the fret
whilst simultaneously being lifted off the previous one. Consequently, the string on the
pickup side of the fret remains in contact with the finger pad momentarily which
dampens the strings to a certain extent. For this deficiency to be reduced, a rapid sliding
motion is preferable as it minimizes both the dampening effect of the fingers and reduces
the risk of string buzz caused by the frets immediately above the slide.
Figure 18 illustrates a more complex situation having three notes leading into a three
fingered chord with a trill. The trill uses the second and fourth fingers so that the two
notes immediately after the event are in position to be played.
Figure 18
‘Caprice No. 11’, bar 6
From a technical perspective the first and third fingers are incidental as their placement
can be viewed as a secondary consideration to the need for a fluent trill. Figure 19
illustrates an interpretation which demonstrates more clearly the technical problems that
arise for the execution of the trill and the approach of the fingers to the string.
304
Figure 19
The second finger in the grace notes effectively functions as a reference point around
which the harmonic accompaniment and finger placement are formed. As the trill is
executed by the second and fourth finger, the first finger is free to perform both the
fretting of the G note and the muting of the low E string.
The other main consideration is to ensure the fingers trilling the string do not
inadvertently prevent the natural vibration of the D string, its immediate neighbour. With
the previous trills, the strings in the immediate vicinity were not in use and consequently
were muted. However, the introduction of a second voice in combination with the short
fourth finger can increase the risk of striking the B accidentally whilst the trill is in
progress. With the restricted finger spacing, execution of the trill from a vertical
position573 reduces the chance of inadvertently striking the D string. The vertical
position is achieved by “curling” both the fingers and the hand position, providing the
fourth finger with the vertical elevation required.
e
ices.
574 This approach is mirrored in finger-
tapping and is also extremely useful in part-writing in which movement occurs within th
inner vo
573 Martin. El Arte Flamenco De La Guitarra, p. 22.
305574 Ibid
In order for the technique to evolve it is necessary to apply the hammer-on and pull-off
concept to both adjacent string motion and string-skipping motion. Figure 20 includes
elements of sequential motion and string skipping with the initial vibration generated by
the plectrum.
Figure 20
‘Caprice No. 24’, bar 95
Figures 20 and 21 represent the upper level of technical difficulty in the transcriptions
due to the extreme range of the string skipping.
Figure 21
One of the more pertinent concerns with this type of neighbour-note sequence is the
transitional movement and its direct influence on the choice of fingering. While using
the primary transition point only one position shift is required; this effectively divides the
fingers into groupings of two. The high notes appear above the lower notes in both pitch
306
307
and physical proximity on the guitar neck. Therefore, whilst the first three high notes are
being played with the third and fourth fingers, the first finger is free to pre-finger the first
note simultaneously on the B string: the advantage of this is the reduction in the audible
gap between notes which is normally associated with movement across larger numbers of
strings.
The secondary option given in the ossia staff utilizes the stronger fingers, however, it
requires faster movement between positions in order to remain fluent. The increase in
speed is made necessary by the absence of pre-fingering. This problem is exacerbated by
the first finger beginning and ending the sequence on each new string. In order to
facilitate the execution of the large leaps, it may be necessary early on to remove the
finger fretting the last note in each group of three. Unfortunately this can create
noticeable variations in note duration at these points if done incorrectly.
Closely related to this issue, is the clean removal of the fingers from the string so as to
avoid inadvertently pulling-off the note to the open string. This kind of pull-off can
manifest itself in anything from a small audible string noise to a recognizable open string
pitch. Moreover, it is often more prevalent when transitional position movement is
rushed.
7.3.7 Summary
In practice, many of the technical concerns that apply to hammer-ons and pull-offs are
common to alternate-picking and to a lesser extent sweep-picking. Once the mechanical
action of executing left-hand hammer-ons and pull-offs has been mastered, it is relatively
simple to apply it to most musical techniques.
308
With some exceptions, many of the left-hand hammer-ons and pull-offs in this section,
and in much of the transcription, can be grouped under the umbrella of neighbour-note
ideas. These musical techniques range from grace notes and acciaccaturas to trills.
The single most important factor when dealing with left-hand hammer-ons and pull-offs
is the creation and continuation of self-perpetuating string vibration. Much of the time
this takes precedence over the other factors. Even the usually important matter of
fingering choice on occasion can be downgraded in importance in comparison to the
facilitation of a continuous string vibration.
The similarities between bow strokes and hammer-ons and pull-offs can be used to mimic
certain note characteristics. These shared characteristics can be found in both string
attack and dynamic attack, allowing for a smooth transition from neighbour-note bowing
strokes to neighbour-note hammer-on and pull-off sequences.
309
7.4 Single-finger finger-tapping
7.4.1 Introduction
Single-finger finger-tapping can arguably be viewed as an extension of left-hand
hammer-ons and pull-offs. With conventional hammer-ons and pull-offs the first finger
of the left-hand retains its position on the fingerboard, whilst the remaining fingers
continue the string vibration through a series of hammer-ons and pull-offs. Single-finger
finger-tapping extends that same action to include fingers on the right-hand. This
redefines the right-hand function from its more traditional role of creating a string
vibration 575 to specific pitch generation. Using this technique, both hands can generate
notes which distinguish it from conventional guitar practice.
Developing this independence of the hands opens up much repertoire hitherto
unperformable or requiring extensive musical modification.576 This vastly expands the
technical possibilities available to composers writing for the electric guitar.577 However,
before this level of independence of the hands can be achieved, an understanding of the
complex relationship that occurs in single-finger finger-tapping is required. This section
is focused on development of single-finger finger-tapping and its contextual application
within the Caprices.
575 Observed in Kotzen, Rock Chops, 1990. 576 Jordan, Master Sessions, 1993. 577 Observed in Kotzen, Rock Chops, 1990.
310
Unlike left-hand hammer-ons and pull-offs, where one governing premise negates
information replication, single-finger finger-tapping requires more development at the
fundamental stages on account of the complex interactions between the two hands.578
Within the Caprices single-finger finger-tapping can be viewed as a valuable tool, which
closes the gap between total independence of the hands and simple left-hand hammer-ons
and pull-offs. In this section, however, single-finger finger-tapping will be developed as
a technique in its own right, focusing on its appearance in ‘Caprice No. 6’.
7.5 Micro elements
One of the advantages of utilizing fingers on the right-hand to complete a melody line is
that it makes playable stretches otherwise impossible when using one hand. For example,
tremolos that span more than an octave on one string, are virtually impossible to play
with conventional left-hand hammer-ons and pull-offs. However, by utilizing a
combination of right-hand and left-hand finger-tapping they are relatively easy.579
7.5.1 The roles of the right-hand thumb, third finger, and fourth finger
Within single-finger finger-tapping, the right-hand thumb and the third and/or fourth
fingers are often used together to grip the guitar neck.580 This grip functions as an
opposing pressure against which the finger-tapping finger can push. Moreover, it
provides additional stability for the different types of tapping motion.
7.5.2 Tapping motion
Figure 22 illustrates the basic octave tremolo in which the first finger retains a static
position whilst the right hand creates the string vibration.
578 Observed in Kotzen, Rock Chops, 1990. 579 Heard in ‘Quarter to Midnight’, MacAlpine, Edge of Insanity, 1985. 580 Observed in Van Halen, ‘Eddies Solo 1995’, http://www.youtube.com/watch?v=OK5jlZIbLrM&mode=related&search=; accessed 3rd January, 2007.
Figure 22
As the continuation of string vibration is the basis for this technique, one of the most
immediate concerns relates to the actual tapping motion. In order to perpetuate a string
vibration, the tapped note is effectively a hammer-on followed by a pull-off, which is
executed by a finger on the right hand.581 However, once the finger has been hammered
against the fret and the note has reached its full duration, a corresponding motion is
required to continue the string vibration. A number of different techniques are utilized to
achieve this but their effectiveness is dependent to an extent on how the right-hand finger
approaches the tapped note. If the tapped note is closer to the headstock, for example, the
right-hand arm assumes a position roughly parallel to the guitar neck: this is a natural
consequence of reaching for notes with the right hand down the neck.582 In contrast,
notes tapped closer to the bridge require a more vertical approach to the strings.583
Both of these factors, as well as the musical material itself, can influence the method of
pull-off used. For classification purposes, right-hand finger-tapped pull-offs can be
divided into a number of categories.
581 Observed in McAlpine, Guitar Lessons, 1990. 582 Observed in Jennifer Batten, ‘Flight of the Bumblebee’ http://www.youtube.com/watch?v=LZBuzbe9xCo; accessed 24th November 2006.
311583 Ibid
312
The first and arguably most common of these is the forward “flicking” motion in which
the tapped note is flicked off by the finger in the general direction of the headstock.584
On reaching a certain point, the string is released, perpetuating its vibration through its
natural pull to regain its position of equilibrium. The second requires the exact opposite
movement: the tapping finger is pulled towards the bridge rather than flicked,585 creating
a similar string vibration.586 Both of these methods are similar in that they are based on a
finger motion rather than a wrist motion. The remaining two methods, however, require
a flicking motion on an angle more or less 90° to the string. This can be executed
towards either the top or bottom of the fingerboard. Due to the angle of the motion
relative to the string, it can often be best achieved through wrist rather than finger
movement. These different tapping movements are not mutually exclusive; players are
able to utilize them in any number of combinations in one performance 587 in order to
perpetuate the required string vibration.
The appropriate choice of method can be dependent on a number of factors. In ‘Caprice
No. 6’, for example, the selection and application of these pull-off techniques is often
dictated by the proximity of other melodic material.
Figure 23 illustrates the two different methods of self-perpetuating pull-offs and their
utilization within one bar.
584 Observed in Kotzen, Rock Chops, 1990. 585 Observed in Bill Burke, ‘Early August with Jennifer’, http://youtube.com/watch?v=VYx23REt1D8; accessed 26th January, 2007. ; Lynch, George Lynch, 1990. 586 Heard in Bill Burke, Where’d Our Ball Go?, Cerebral Music, 783707698625, 2003. 587 Observed in Jennifer Batten, ‘Clinic at DLX music’, http://www.youtube.com/watch?v=my8hKPKXn2Q&mode=related&search=; accessed 24th November 2006.
Figure 23
‘Caprice No. 6’, bar 15
Where the first two notes are hammered simultaneously in the left hand, the unused B
string is muted by the second finger, effectively providing a one-string buffer zone
between the tapped tremolo and B flat. The tapped pull-off part of the tremolo can occur
either towards or away from the B flat. On cursory examination, pull-off motion in the
opposite direction to the B flat appears preferable in order to avoid the possibility of
inadvertently striking it. Due to the fact that the B string is muted, it can be prudent to
choose a pull-off motion towards the muted string, thus dealing in advance with the
possibility of extraneous string noise. In the next grouping of tremolos, however, a pull-
off motion away from the B flat is preferable, thus avoiding any chance of hitting the
non-buffered B string and consequently interfering with the note duration.
The rapidity of notes can often render it impractical to alter pull-off direction mid-bar.
Broader observations about the melodic contours can often be of assistance when
planning this kind of technical detail. Figure 24, for example, clearly shows the melody
appearing above the tremolo on the adjacent string, thus making it more reliable and
practical to employ pull-offs in the opposite direction.
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Figure 24
‘Caprice No. 6’, bars 14-15
One of the fundamental issues introduced in Figure 22 and seen in ‘Caprice No. 6’ is the
creation of the initial string vibration. This is reliant on a number of factors. In Figure 25
the first note is the lower anchor note, fingered by the first finger and immediately
followed by the tapped note: this arrangement makes plectrum-generated string vibration
virtually impossible.
Figure 25
Only two practical choices remain: a left-hand hammer-on in the style utilized in
‘Caprice No. 6’ or the use of the tapping finger to generate the string vibration. The first
method has been discussed in relation to Figure 16. Generating the initial string vibration
with the tapping finger requires both fingers to be in position prior to the beginning of the
melody line and thus a degree of premeditated finger placement is required.
As has been explained earlier, finger-tapping is a combination of two actions: the
hammer-on to generate the tone, and pull-offs to perpetuate the string vibration.
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315
The tapping finger can generate the initial vibration by using a pull-off motion in the
same way that left hand pull-offs function. Therefore, although it is in position over the
17th fret the pull-off makes the low E sound.
Closely related to this, is the issue of which finger to utilize when finger-tapping and how
it should be utilized. Although no strict convention has been established by electric
guitar players, a number of common trends can be observed concerning both these
aspects.
Technically speaking, all fingers on the right-hand including those gripping the plectrum
and the plectrum itself,588 can be utilized for tapping. However, the majority of players
use either the first 589 or the second finger590 with the more advanced players using both
the first and second fingers for finger-tapping.591
There are a number of things that dictate which of the fingers are used for finger-tapping
and arguably the most important of these is which fingers hold the plectrum. Many
players grip the plectrum between the first finger and the thumb exclusively, freeing up
the second finger to execute the finger-tapping. Conversely, some players grip the
plectrum between the second finger and the thumb, allowing the first finger to access the
tapped notes. Both methods have the inherent weakness of not being able to utilize the
588 Heard in ‘Surfing with the Alien’, Joe Satriani, Surfing With the Alien, Relativity Records, Inc., 88561-8193-2, 1987. 589 Paul Gilbert, ‘The Four Seasons’, http://www.youtube.com/watch?v=bgZi5Jb0BBs; accessed 27th November, 2006. 590 Observed in Yngwie Malmsteen, ‘Trilogy Suite op: 5’, http://www.youtube.com/watch?v=9z9OGg0mA70; accessed 27th November, 2006. ; Kotzen, Rock Chops, 1990. 591 Joe Satriani, ‘Midnight Masterclass’, http://www.youtube.com/watch?v=pVLuxZUmO0A; accessed 27th November, 2006.
316
ger.595
thumb as an anchor on the top of the neck due to the fact that it is gripping the plectrum.
The resulting lack in opposing pressure that the thumb anchor provides can inhibit the
speed of the tapping fingers.
The absence of the anchor position can also result in the right-hand wrist inadvertently
moving in concert with the finger-tapping motion. This can make it both difficult to
control and often slower than movements generated from the finger-tapping finger. The
problems arise from the physical effort required to move the wrist at fast tempi.
However, at faster speeds a muscular trembling can be employed which is more akin to
trem-picking592 and staccato bowing.593 Unlike trem-picking, finger-tapping using the
wrist requires two motions to achieve one note. Consequently, at high speeds dynamic
continuity and accents become harder to achieve with consistency. Although a number of
guitarists utilize this method 594 with varying degrees of success, a steady wrist position
is preferable as it allows the majority of the movement to emanate from the finger-
tapping fin
In order to achieve the opposing pressure that the thumb anchor provides, the plectrum
must be moved to another position on the hand, as in Figure 8. However, moving the
plectrum to a different position can be time consuming, thus making its use more
practical in long periods of sustained finger-tapping than in single-tapped notes within a
melody line.
592 Angelo, Speed Kills, 1991. 593 Galamain, Principles of Violin Playing and Teaching, p. 78. 594 Howe, Hot Rock Licks, 1989. 595 Gilbert, Guitars from Mar 1, 1996.
There are instances in which a single note tap is used to complete a melody line 596
making it less practical to remove the plectrum from its position as illustrated in Figure
26.597 In these cases, the finger that is not being used to grip the plectrum598 can tap the
target note.599
Figure 26
There are a number of practical concerns when utilizing this technique for single or
multiple tapped notes. Arguably the most important of these is the movement of the
plectrum hand from its optimum picking position near the bridge to the target note.
Attempting this movement in one abrupt motion is extremely problematic. In this case,
the finger-tapping hand is required to make the transition in the space of a sixteenth note.
Incremental motion by the plectrum hand towards the tapped notes whilst still executing
its assigned plectrum tasks is more desirable.600
Such a radical movement across the strings creates a situation where string elasticity
changes considerably in relation to plectrum pressure at each incremental step. In order
to preserve an even tone and dynamic throughout the motion, a lighter plectrum pressure
is needed.601 In addition to this, the plectrum can vary relative to the string. The angle is
596 Yngwie Malmsteen, ‘Trilogy Suite op: 5’, http://www.youtube.com/watch?v=9z9OGg0mA70; accessed 27th November, 2006. 597 Observed in Howe. Hot Rock Licks, 1989. 598 Observed in Petrucci, Rock Discipline, 1995. ; Lynch, George Lynch, 1990. 599 Tolinski, ‘Mob Rules’, pp. 46-96. 600 Observed in Gilbert, Intense Rock, 1988. 601 Observed in Garsed, Rock Fusion, 1995. ; Holdsworth, REH Instructional Video, 1992.
317
determined by both the plectrum's normal position in relation to the tapped note and the
number of notes between those two points. Typically in this type of situation, the
substitution of hammer-ons and pull-offs for plectrum strokes makes it is possible to re-
orientate the stroke motion if desired.
7.6 Macro elements
Now that the micro elements and their related issues have been addressed systematically,
it is possible to progress to the larger fragments and their contextual relationship with
‘Caprice No. 6’. The finger-tapping tremolos in this piece require the development of a
number of specific and interrelated techniques.
Figure 27 is the finger-tapping pattern popularized by Eddie Van Halen in the early
1980s. The basic principles are still relevant to the development of consistency, stamina,
and coordination.
Figure 27
Consistency within single-finger tapping can be divided into two areas when the tapped
note appears in a 1:2 ratio with the left hand notes: note duration and dynamic level. In
reality, however, only the fourth finger and the tapping finger are in motion, as the first
finger is held in place. The coordination needed between these two fingers can initially
limit the speed of the overall exercise. However, once the interaction between the hands
has developed, consistency in both note dynamic and duration can develop. This can be
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easily overlooked in an exercise such as Figure 22 where no real co-ordination is
required. The relatively intensive nature of this exercise also requires a certain degree of
stamina. This is needed irrespective of what style of finger-tapping is employed,
particularly during the sustained single-finger tapping encountered in ‘Caprice No. 6’.
Figure 28 illustrates the next stage of finger-tapping development; linear movement of
the tapping finger 602 in conjunction with both adjacent string and string-skipping motion.
Figure 28
‘Caprice No. 6’, bar 3-4
As the tapped tremolo occurs both above and below the main melody note, a smooth
transition between the two is required. The physical transition is relatively
straightforward although the avoidance of string noise during the movement between
strings can be problematic.
Maintaining a uniform dynamic level, however, is more difficult owing to the rapid
movement of the finger-tapping action. Movement from one finger-tapping area to
another not in the immediate proximity can create unwanted dynamic accents when
overcoming the natural inertia. The faster the finger-tapping action the more likely this is
to happen. This is the unfortunate by-product of the speed required to preserve correct
319602 Observed in Howe, Hot Rock Licks, 1989.
note duration. When multiple taps on the same note occur, as in ‘Caprice No. 6’, a more
transient approach to unwanted dynamics can be utilized through the reduction of
excessive accents during the tremolo. One possible solution is to play the first tapped
note of the new position with less force, allowing the natural inertia of the positional
movement to compensate dynamically: similar to a follow through effect.
Another matter related to dynamic levels is the physical proximity of the pull-off note to
the finger-tapped note, which can indirectly affect the mobile tapping finger. The string’s
ability to reach greater or lesser dynamic levels is directly proportional to its
displacement. In finger-tapping, however, the vibration of the string has both a vertical
and horizontal component. The vertical component is created by the generation of the
note through finger-tapping and the horizontal component through a right-hand pull-off
motion. The dynamic level of both is reliant on the distance that the right-hand tap
occurs in relation to the left-hand anchor note. Figure 29 illustrates both tone generation
and perpetuation and their dynamic link to the first finger.
Figure 29
The vertical motion in the first bar is dynamically restricted by the fact that the first
finger is holding down the F sharp. This effectively reduces the distance that the G has to
hammer against the fret to generate a string vibration which consequently limits its
dynamic range. The immediate proximity of the first finger on the F sharp also limits the
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321
amount of horizontal displacement that can be achieved with a pull-off motion on the G.
In contrast, the tapping finger in the second bar can achieve a wider dynamic range due to
the increased gap between the fret on the string. The further the distance from the
anchored point the larger the string displacement.
There are a number of dynamic considerations in cases such as ‘Caprice No. 6’. Changes
in tapping strength are required between positions, in order to avoid the tremolo tap
overpowering the hammered chord while still retaining dynamic continuity between
positions. The dynamic level of the tapped tremolo is relative to its distance from the
anchor note, a factor mirrored in the hammered chords in relation to the open string nut.
Unlike the tremolo tap, the non-tremolo note has to be hammered on with enough
strength to reach its full duration. This must be done in a manner to avoid overpowering
its tremolo counterpart. All things being equal, 603 accents and other dynamic markings
can be more easily preserved if both hands alter their hammer-on strength to preserve
dynamic continuity.
7.6.1 Elementary multi-finger-tapping
A modified version of the single-finger tapping approach popularized by Joe Satriani604
utilizes pull-offs to pre-fingered chord shapes by the first and second fingers.605 This
technique can be further modified for use within ‘Caprice No. 6’ by using first and
second finger hammer-ons and pull-offs, to perform tremolos with increased speed. This
represents the first digression from single-finger-tapping into multi-finger-tapping which
603 This refers to the exclusion of dynamic issues related to string gauge that have already been discussed earlier in this chapter. 604 Observed in Joe Satriani, ‘Midnight Masterclass’, http://www.youtube.com/watch?v=pVLuxZUmO0A; accessed 27th November, 2006. 605 Heard in Burke, Where’d Our Ball Go?, 2003.
has many applications within the Caprices. Figure 30 illustrates one such example,
where the tremolo tap alternates between the first and second finger.
Figure 30
This technique represents the next step in terms of stamina. However, there are a number
of aspects that need closer consideration before any kind of practical application within
the Caprices can be considered. For it to be of any practical use for tremolo notes, a
certain distance between the frets is required. Consequently, the further up the guitar
neck that this technique is used, the more “crowded” the fingers become. A point is
reached where close finger proximity renders the technique impractical; at this point the
single-finger tremolo becomes a more desirable choice.
The utilization of a combined first and second finger-tapping tremolo creates the need for
a changeover point from double to single-finger tapped tremolos. In order to make a
smooth transition, the speed of the double finger-tapped tremolo must not exceed either
the potential speed or dynamic volume of its single-finger counterpart. Single-finger
tapping must also be executed at speed, an aspect best maintained through the reduction
in distance that the tapping finger is lifted off the string between notes. Consequently,
string displacement can be affected, decreasing a note’s dynamic level and needing a
compensatory increase in tapping strength.
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323
Another aspect that requires consideration is overall “smoothness” of the tremolo in the
multi-fingered version. No difference between the multi-fingered and single-fingered
versions should be discernible. Differences are most likely to be noticeable at the
changeover points where evenness in note duration and dynamics is desirable to aid in
maintaining the overall continuity of the melodic line.
One factor that affects this technique in terms of further development is the general
orientation of the fingers. In the Joe Satriani version the first and second fingers often
remain in a vertical position with the finger nail facing the headstock. This positions the
first finger on the lower string and the second finger on the upper string, encouraging the
player to position the right forearm parallel to the guitar neck. This is excellent for
tapping notes that occupy the same fret or frets within similar proximity on different
strings. However, playing more complex scale or arpeggio figures with multiple fingers
is best served through the use of a more horizontal approach in the right-hand606 as
illustrated in Figure 8. This approach provides one of the more practical solutions to the
problem of accessing the same string axis by multiple fingers between the same frets.607
As the tapping fingers approach the string with a similar angle, portion of the finger and
hammer-on and pull-off motion, fingering interaction problems can be kept to a
minimum.
With multiple fingers now possessing the ability to access the same string, musical and
technical possibilities expand exponentially since the right-hand fingers are able to
606 Jordan, Master Sessions, 1993. 607 Observed in Jeff Watson, ‘Guitar Solo LA 1982’, http://www.youtube.com/watch?v=OjnaC1tWCUA; accessed 18th April, 2007.
generate both harmonic and melodic material. Figure 31 illustrates one possible practical
application of this idea within the parameters of ‘Caprice No. 6’.
Figure 31
Both the first and the second finger hammer-ons and pull-offs function in the same way
as those in Figure 30, the only difference being in the alternation of melodic notes. The
bracketed third finger in the second half of the bar illustrates the introduction of a
previously unused finger on the right hand.
Figure 32 introduces a modified sequential pattern for the right hand first seen in Figure
27, which incorporates right-hand movement of the type encountered in ‘Caprice No. 6’.
Figure 32
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325
The use of multi-fingered right-hand linear motion introduces a number of previously
unused capabilities, however, these require development at this fundamental stage owing
to the ramifications in the later multi-fingered portion of this chapter.
Within this one exercise all four fingers on the right-hand are utilized through four
distinct linear movements. This occurs whilst the harmonic accompaniment is held down
by the left-hand.608 Each of the right-hand linear movements starts with a tapped fourth
finger immediately prior to the chordal hammer-on in the left hand. However, the right-
hand adjacent string motion creates a scenario in which both notes of the left-hand static
chord are pulled-off consecutively and this creates a number of practical issues.
One of the most important of these has been addressed in relation to ‘Caprice No. 6’: the
need to avoid striking the vibrating string whilst right-hand hammer-ons and pull-offs
occur on the adjacent string. The ossia staff provides a solution which is not dependant
on the direction of the pull-off. This appears in the form of a buffer string that can be
muted by the underside of the fourth finger on the left hand.
As with both linear and adjacent left-hand motion, right-hand movement follows similar
rules for overlapping positional movement. In this case, however, the right-hand thumb
positioning on the top of the neck is more flexible in terms of positional tolerance than
would be expected from its more traditional left-hand counterpart. One thumb position
can be used for all the right-hand positions if correctly placed. This is possible due to
both close fret spacing and the extra range that the right hand can achieve because of it.
608 Observed in Jordan, Master Sessions, 1993.
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The exploitation of this aspect has far-reaching ramifications for multi-finger-tapping in
the next section of this chapter.
7.6.2 Summary
Much of the single-finger finger-tapping, analysis and development has occurred to
facilitate its practical application in ‘Caprice No. 6’. A detailed study of mainstream
finger-tapping 609 is not undertaken here as a great deal of literature already exists on the
subject. However, many of the issues discussed here do have parallels with mainstream
finger-tapping.
One of the main issues in all finger-tapping is the creation of usable self-perpetuating
string vibration. Without this, hammer-ons and pull-offs in either hand would function
ineffectively. Once the string vibration has been initiated, therefore, each fingered note
has a twofold function; to extend the string vibration by means of a hammer-on and to
continue this into the next note in the form of a pull-off.
There are a number of issues surrounding the perpetuation of string vibration which are to
varying degrees interdependent. These range from string gauge and elasticity and its
related dynamic implications, to the finger’s ability to create dynamic string displacement
and its relationship to the anchor position. All these factors have a profound influence on
the ability to continue the string vibration between notes.
As has been illustrated, all of the right-hand fingers can create and perpetuate continual
string vibration. This can be done whilst the left hand holds down the chordal harmony.
609 Observed in Van Halen, ‘Eddie’s Solo’, http://www.youtube.com/watch?v=OK5jlZIbLrM&mode=related&search=; accessed 3rd January, 2007.
327
Chordal accompaniment provides the harmonic anchor point for the right-hand pull-off
notes. This digression into multi-finger-tapping is the first step to double-handed
independence, a subject explored in the next part of this chapter.
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7.7 Multi-finger tapping
7.7.1 Introduction
Multi-fingered finger-tapping technique, sometimes referred to as touch technique,610 can
be dealt with as a section in its own right although it represents the natural evolution of
the single-finger finger-tapping technique. As we have seen in the previous section, the
technique can evolve beyond the limited parameters set in ‘Caprice No. 6’ into a high
level of double-handed independence. The quasi-pianistic style of this approach opens
up repertoire was previously inaccessible using traditional guitar technique.
This pianistic approach has led to the development of a new type of electric guitar
designed specifically for this style of multi-finger-tapping. The three principal examples
are the Warr Guitar,611 the Chapman Stick 612 and the Mobius Megatar.613 All three have
helped influence multi-finger-tapping on the electric guitar and many of the technical
innovations seen in these instruments owe their inspiration to this technique.
7.7.2 Right-hand thumb positioning in conjunction with multi-finger-tapping
Prior to attempting any development of multi-fingered technique, it is necessary to pursue
a number of aspects that relate specifically to this style of playing. One of the most
important of these is the thumb position on the right hand which was discussed briefly at
the end of the previous section but requires further clarification in relation to multi-
finger-tapping.
610 Jordan, Master Sessions, 1993. 611 Warr Guitars, http://www.warrguitars.com; accessed 18th April 2007. 612 Chapman Stick, http://www.stick.com; accessed 18th April 2007. 613 Mobius Megatar, http://www.megatar.com; accessed 18th April 2007.
If the thumb functions as a reference/anchor point, it follows that its pivoting motion is
responsible for the delivery of the fingers to the target string.614 This motion allows the
thumb to remain in the same position on top of the fingerboard whilst helping the fingers
retain the same curvature irrespective of fingerboard position.615 The correct curvature of
the fingers is necessary for all the fingers on the right hand to comfortably fret notes
regardless of their length.616 This can be clearly seen in the right-hand positioning in
Figure 33 where a three-note-per-string melody line occurs.
Figure 33
Although the pianistic elements are relatively obvious, the position and curvature of the
fingers is influenced by the preoccupation of most guitar technique; the need to generate
clean, usable string vibrations.617 On the piano, the physical length of the keys helps to
offset differences in finger length. However, the translation of this technique to the
electric guitar allows minimal margin of error owing to the restricted space between the
frets and their position at which the fingers must touch the strings.
7.8 Micro elements and elementary multi-finger-tapping
‘Caprice No. 8’ presents a logical extension of the multi-fingered tapping explored in
‘Caprice No. 6’. With rhythmic simplicity, logical hand separation and continually 614 Observed in Stanley Jordan, ‘Autumn Leaves’, http://www.youtube.com/watch?v=baDM3_6w8-E; accessed 18th April 2007. 615 Ibid 616 Ibid
329617 Observed in Jordan, Master Sessions, 1993.
repeated right-hand motifs, the double-handed arrangements that appear in ‘Caprice No
8’ provide excellent material for further development.
7.8.1 Right-hand tapping motion
Unlike ‘Caprice No. 6’ in which the tapped notes are pulled off to a harmonic
accompaniment, making them interdependent, the two hands function with relative
autonomy in ‘Caprice No. 8’. As such, the left hand is expected to do much of the work
that is assigned to the right hand in the double-handed arrangement. Figure 34 clearly
shows this with the right hand performing only a simple hammer-on.
Figure 34
‘Caprice No. 8’, bar 8
In Figure 35, however, the roles are reversed, providing the right hand with the less
conventional and heavier workload in comparison to the left hand.
Figure 35
‘Caprice No. 8’, bar 8
Double-handed arrangement
330
In essence, the right hand must now function as the left hand, performing the hammer-ons
and pull-offs with a self-generating initial vibration. Although the majority of the left-
hand information presented in the previous chapters is applicable here, there are a number
of aspects that more specifically target the right hand.
One of the main issues is the autonomous self-perpetuating generation of string vibration
which was addressed in the left hand in Figures 11 and 12. Two of the more mainstream
methods of generating hammer-ons and pull-offs with the right hand create very different
musical effects.
Figure 36 illustrates how these two techniques differ in sound.618 The first is more akin
to a legato sound whilst the second has more of a staccato characteristic. These right-
hand hammer-on and pull-off techniques form the basis for tone generation throughout
this section.
Figure 36
The legato illustrated in the first bar is, for want of a better term, an “on the string”
approach. This means that the fingers are in contact with the string the majority of the
time irrespective of whether the depressed note is sounding. In the first bar, the scale is
fingered in a comparable fashion to a left-handed ascending scale with the fingers
331618 Jordan, Master Sessions, 1993.
332
remaining in position even after the subsequent hammer-on has taken place.619 In bar 2,
the descending notes require a slightly different approach if the legato feel throughout is
to be maintained. At the point where the first hammer-on of each new string takes place
all three notes are pre-fingered simultaneously. 620 This creates a situation where only the
highest note sounds with all the subsequent fingers in position to execute the pull-offs
with minimum effort.
The dynamic level of the initial pre-fingered stroke is related to this as the physical
motion combines wrist and finger movement. The amount the wrist motion employed
heavily influences the strength of the initial note; exaggerated wrist motion results in a
louder dynamic.
The difference in physical motion of the fingers between ascending and descending scalic
figures and the changing fingerings and intervals can create a number of different
problems. Most, however, ultimately relate to finger length and its ability to create and
perpetuate effective string vibrations on the same string axis.
In order for this to be accomplished, all the right-hand fingers must be able to touch the
string at the same time. For this to happen, curvature of some or all of the fingers is
necessary to varying degrees. The optimum curvature of the fingers621 can be found by
resting the thumb on the top of the neck and placing all the fingers on one string as in the
619 “Keeping the fingers down is a basic principle of left-hand technique of all stringed instruments” Quine, Guitar Technique, 1990, p. 50. This principle is equally sound for the right hand on the finger-board. 620 “Preparation of this kind can play a large part in ensuring legato playing,…” Quine, Guitar Technique, p. 50. 621 Martin, El Arte Flamenco De La Guitarra, p. 23.
333
right hand of Figure 33. The position achieved in relation to the thumb anchor represents
the best angle to be used when three-note-per-string scales are played by the right hand.
It is this optimum finger length that provides the starting point for most right-hand
movements used within this section and in the double-handed arrangements in the
transcriptions. However, musical content and related factors such as intervallic stretches,
the difference in individual finger length and the distant from the anchored thumb, all
contribute to the overall orientation of the hand.622
Related to this is the thumb's ability to deliver the fingers to the new target string, whilst
retaining the optimum finger curvature discussed above. This is assisted by the ability of
the thumb to rotate 360° whilst keeping its tip or pad in a fixed position against the neck.
This, in combination with a closer fret spacing where the majority of the finger
movement takes place, gives the right hand the ability to access a large range of notes and
positions.
One of the more difficult aspects to become accustomed to in the right-hand descending
scalic figure is the difference in physical movement between ascending and descending
scales. In the ascending scale, all of the hammer-on movement occurs in the fingers, akin
to fingers drumming on a desk with a fixed wrist position. However, the descending
version utilizes varying degrees of wrist and finger motion and thus requires all of the
fingers to be lifted and replaced at every new string.
622 Observed in Jordan, Master Sessions, 1993.
In contrast, the third and fourth bars of Figure 36 employ right-hand hammer-ons
throughout both the ascending and descending form. Unlike the previous two bars,
which have a more legato feel, the staccato sound is created by an “off-the-string”
approach, lifting the finger cleanly off the string after the note has sounded. Although
beneficial for technical uniformity, the two individual movements (the hammer-on then
the lift-off) reduce the overall potential speed when compared to the single movement
utilized in the previous bars. This method of generating a string vibration is necessary in
order to perform figures such as arpeggios, in which the ratio of notes per string can be as
low as 1:1.
Figure 37 illustrates a practical application of this technique in the context of multi-
finger-tapping. In this case, multiple notes on different strings require autonomous note
generation rather than the continuation of a pre-existing string vibration.
Figure 37
‘Caprice No. 20’, bars 1-4
This also shows where a combination of the two right-hand techniques can take place,
with some notes occupying the same string whilst others require adjacent motion and
string-skipping.
334
Figure 38
The slurs in Figure 38 are used to indicate hammer-ons and pull-offs that are a product of
continued string vibration, with the unslurred notes being individually generated. One
issue illustrated in bar 2 is that of two notes occupying the same fret on different strings
which would normally be played using the finger-barré. This is a type of pattern that can
arise frequently in multi-finger tapping, particularly in arpeggiated figures. To overcome
this problem the same finger needs to be moved from one fret to the other whilst avoiding
inaccurate placement that may hinder the vibration of the neighbouring E string.
7.8.2 Fundamental double-handed independence
Now that the fundamental fingering actions for ascending and descending scalic figures
have been addressed, the next step in the development of this technique is the
combination of both hands. Figure 39 illustrates one of the strengths of double-handed
technique: the ability to move the same melody in the same range to different places on
the guitar neck.623
335623 Observed in Jordan, Master Sessions, 1993.
Figure 39
In orchestrating the fingering for multiple melody lines it is necessary to avoid instances
whereby the same string is used for different notes, preventing their sounding. This
problem can be eliminated by moving all or part of a melody to an unused area on the
neck. Unlike the piano, on which only one key exists for each note, different positions on
the guitar neck can be utilized for the same note. This capability can be helpful to avoid
double use of the same string.624 It creates a plethora of musical options such as unison
doubling and close melodic interaction625 without the awkward fingerings commonly
associated with hand-crossing on the piano. Although physical transposition of a melody
can occur in its entirety or parts, subsequent string tone and overall continuity can be
coloured by the use of different string gauges.626 Where possible, therefore, physical
transpositions should occur at the end of the phrase. At these points the changing string
gauge and elasticity can be associated with the movement to a new phrase. This is often
more effective and less conspicuous than a movement that is exposed in the middle of a
phrase.
Figure 39 illustrates both types of adjacent string motion; the right hand appears both
above and below the left-hand melody, something previously avoided. The inherent
624 Observed in Jordan, Master Sessions, 1993. 625 Ibid
336626 Ibid
danger with so much adjacent string activity is that either one of the hands can
inadvertently strike its neighbour. Nonetheless, within the double-handed arrangements
of the Caprices it is necessary to develop adjacent string technique both above and below
the main melodic line.
7.8.3 Hand crossovers
The double-handed arrangements in the transcriptions require an awareness of four basic
hand crossover positions: opposed and uncrossed, opposed and crossed, vertically
overlapping and uncrossed and vertically overlapping and crossed. These refer to the
positioning of the hands in relation to the strings and each other and not to melodic
content. Figure 40 illustrates these four positions and the degree of practicality that each
possesses.
Figure 40
Like hammer-on direction, the orientation of the two hands on the guitar neck makes the
crossed over versions more complicated and best avoided where possible. This is due to
the fact that the fingerboard can be obscured by the physical action of crossing the arms.
This can also cause additional coordination problems between the two hands. Therefore,
opposed and uncrossed and vertically overlapping and uncrossed are the preferred
337
338
options for passing the melodic and harmonic content between the hands. Within the
Caprices the majority of the double-handed arrangements adhere to this practice with
musical rather than technical considerations determining the choice.
Of the techniques favoured, vertical overlapping is the more difficult. Competent
execution of this technique requires each hand to reach over the strings being played by
the opposing hand. The right hand fingers must be arched to avoid muting the strings
inadvertently that are being played by the left hand. However, the arch needed in the left
hand can be less pronounced, utilizing its close proximity to the strings to mute
extraneous string noises created by the right hand.627 Due to the position of the hands the
underside of the left-hand fingers can remain in constant contact with the strings without
affecting the ability of the right hand to create notes.
Coincidentally, the non-crossed versions also makes for a more logical division of the
fingerboard since the majority of the left-hand use is below the 12th fret while its right-
hand counterpart is above.628 In general terms, the resulting musical division is similar to
that of the piano with the lower harmonic accompaniment played by the left hand and the
melody by the right (Figure 41). However, as with the piano, the roles can be
interchangeable.629
627 Gambale, Monster Licks and Speed Picking, 1988. 628 Observed in Jordan, Master Sessions, 1993. 629 Ibid
Figure 41
‘Caprice No. 9’, bars 19-21
7.9 Macro elements
7.9.1 Introduction
With many of the basic right-hand mechanics addressed, development of the tools
necessary to play the double-handed arrangements of the transcriptions can be
undertaken. Figure 42 illustrates a harmonization of a basic three-note-per-string figure
in a static position. This exemplifies double-handed independence at its simplest.
Figure 42
Two fundamental fingering issues are addressed in this exercise: the difference in interval
spacing and finger use between the two hands. These differences are most easily
overcome by using a consistent hammer-on and pull-off pattern with an unvarying
rhythmic profile, which allows the performer to concentrate on these techniques rather
than on the more difficult rhythmic separation discussed later. 339
340
As the entire exercise utilizes the vertically overlapping non-crossed technique, the
undersides of the left-hand fingers are required to mute the A to high E string. However,
as the right hand moves in conjunction with the left hand towards the top of the neck,
many of the round-wound strings have the potential to create sympathetic string
vibrations. This is caused by the hammering motion which is continued and amplified
though the pickups. One of the methods to combat this requires the right-hand thumb to
be in contact with the strings below the left-hand notes, moving incrementally in parallel
motion with the right hand. As the two hands move in an ascending motion, the thumb
mutes more strings as the left hand moves towards the top of the neck. The reverse
applies in the descending version where removal of the thumb from the strings to avoid
the creation of an open string vibration poses the biggest challenge.
This type of unanchored thumb position on the right hand has a number of advantages
besides string muting over its anchored counterpart. By eliminating the thumb’s pivoting
motion and natural pull on the fingers it is easier to retain the optimum finger curvature in
the right hand. However, this increases the need for a visual reference to retain correct
hand positioning.
Figure 43 represents different rhythmic motifs in either hand which is the next
evolutionary step for the double-handed technique.
Figure 43
The harmonic accompaniment of the left hand has fewer notes per beat. It cycles
between the first finger in the ascending phrase and the fourth finger in the descending
form. Although rhythmically different, the notes in the left hand can be synchronized to
the right-hand movement to a new string with each harmony note generated by a
hammer-on.
One of the factors that require familiarization in respect to double-handed playing is the
differing articulations that can occur simultaneously.630 This is especially true in the
descending phrase in the right hand where a combination of pull-offs and hammer-ons is
used which is slightly different to the all hammer-on left-hand.
Figure 44 demonstrates how left-hand notes can appear above and below the main
melody, whilst constantly appearing on higher strings.
341630 Jordan, Master Sessions, 1993.
Figure 44
‘Caprice No. 8’, bar 51
This is related to an issue previously mentioned in which the same melodic material can
be played in multiple positions on the guitar neck. Although the harmonic material
appears both above and below the main right-hand melody, the left-hand notes all stem
from a fixed position on the higher G and B strings. Unlike Figure 43, in which the first
finger on the left hand was used for an entire bar before changing, Figure 45 illustrates
the next step in hand division with the left-hand alternating fingers.
Figure 45
Utilizing a different articulation on each hand is an effective method of encouraging
independence whilst relying on a certain degree of synchronization between the two
hands. This is achieved by simply alternating the first and the fourth finger on the left
hand. A visual reference is preferable for right-hand repositioning but the left-hand
movement is effected without any visual reference. This ability is needed when
342
343
performing independent melody lines that occur on opposite ends of the fingerboard. As
visually referencing both hands simultaneously is not practical, the simpler of the two
parts has to be performed blind as in this example.
This step represents the beginning of independent hand articulations which can create
balance problems between the two hands 631 when even dynamics are most desirable.632
There are a number of factors that need to be taken into account when balancing these
dynamic levels. Most guitar players, who have learned through traditional techniques,
have more dexterity and strength in their left hand. Therefore, left-hand hammer-ons and
pull-offs are likely to dominate unless kept in check. Moreover, right-hand material often
occurs on the thinner high strings which require more force to generate a comparable
volume to their lower, round-wound counterparts. Another factor concerns the phase
cancelling effect that some pickups create in combination with varying degrees of
distortion. This translates into the bass strings often overpowering the melodic material
on the higher strings. All these issues need to be taken into consideration if each hand is
to achieve genuine melodic independence.
With so much interplay of dynamics occurring between hands, it is necessary to establish
workable maximum limits based on the quietest string, the high E string. Moreover,
these dynamic parameters require reassessment when changing string gauge as a heavier
gauge string is capable of producing a stronger dynamic. Exceeding this theoretical
maximum on strings capable of louder dynamics creates a situation where either the
melody or harmony is dynamically disproportional. Achieving a dynamic level relative
631 Observed in Jordan, Master Sessions, 1993 632 Heard in Jordan, Magic Touch, 1985.
to the quietest string is a skill developed through experience and its use is based on the
assumption that dynamic continuity is a musical fundamental.
Figure 46 represents the next evolutionary step in this technique, the rhythmic separation
of the two hands with rhythmically independent articulations.
Figure 46
Coordination and synchronization between the two hands can be maintained. The
additional C sharp in the left hand requires no visual reference as it occupies the same fret
on the adjacent string. Once on the second fret, the first finger retains its position with
the following two notes being a continuation of its initial vibration, notated with a tie.
Within this exercise performing the dotted eighth note can be problematic in terms of
coordination between the two hands. This is due to the weak part of the beat falling on
the first finger’s adjacent string motion. At this point, the adjacent string movement is
relatively rapid whilst creating the string vibration that will be continued with a fourth-
finger hammer-on. However, the dynamic continuity between the hammer-on actions
can only be maintained if the vibration on the C sharp is initiated at the same volume.
344
7.9.2 Non-static positions
In order to be of any practical use, both hands need to be moved fluidly around the
fingerboard. This action must be undertaken independently without either hand
interfering with the other either musically or physically. Coordination and visual
referencing is the main key to successful transitions with interrelated factors such as
dynamics, string vibrations and overall balance between the hands also of importance.
Most of the double-handed arrangements in the transcriptions consist of melody and
accompaniment divided between the hands which utilize transitional movement in both
hands. Figure 47 addresses a number of related issues including interchanging harmony
notes between the hands, staccato articulation and mobile hand transitions.
Figure 47
‘Caprice No. 10’, bar 39
Although passing the harmony between the hands is commonplace and dictated by the
accessibility of notes, removal of either hand can often be necessary in order to facilitate
string vibration when notes are in close proximity to each other. Figure 48 illustrates
how the right-hand hammer-on technique creates a staccato sound through autonomous
note generation.
345
Figure 48
The written notes give the impression that the hands are vertically overlapping with a
partial cross over. If the left hand retained its position throughout the rests this would be
the case with fingers on both hands occupying the same fret resulting in finger
“crowding”. However, the eighth note that occurs in the left hand presents an
opportunity to move it down the guitar neck once the notes reach their full duration. This
motion avoids any fingering anomalies by moving the first finger from the ninth to the
eighth fret immediately after the note’s full duration has been reached. Providing the
left-hand fingers do not interfere with the right hand, they can retain a certain degree of
contact in order to continue their muting function.
7.9.3 Chord voicing
It is commonplace when sounding these chords on the violin, to utilize an arced bow
motion which effectively arpeggiates the entire chord. One of the advantages of the
double-handed method on the guitar, however, is that the harmony can be split between
the two hands and that three-note and four-note chords can be played simultaneously.
Similarly, arpeggiation at very fast tempi is relatively easy utilizing double-handed
technique.
346
Figure 49 illustrates a number of possible arpeggiations which provide different musical
results and note figurations based on ‘Caprice No. 1’.
Figure 49
The first bar presents the notes as they would normally appear in standard hierarchical
arpeggiation beginning at either the top or the bottom. Although this uses the more
complex vertically-overlapping and crossed method, it is possible for the notes to reach
their full duration unhindered.
The second bar, however, divides the notes between the hands in a way that makes use of
both autonomous individual note generation and the continuation of string vibration. The
first half of the second bar has more of a legato feel, created by the continuation of the
string vibration initiated on the G sharp. In addition to this, the right-hand fingering also
takes advantage of its ability to traverse larger stretches with three notes occupying the
same string. The drawback of this is the inability of each note to continue vibrating
which creates a very different style of musical arpeggio to those presented in the first bar.
As each note on the second arpeggio is created by an autonomous hammer-on, the order
of notes and their fret positions make it possible for each finger to retain its position on
the string whilst its successors are fretted. Although the B on the 14th fret supersedes the
347
F sharp on the same string, the right-hand F sharp continues to vibrate providing to some
degree the illusion that all notes are present.
One of the strengths of harmonic hand division is the ability to reorder the notes without
compromising the overall speed. At this tempo it provides the same rhythmic
consistency as drumming the fingers backwards and forwards on a desk although the four
fingers are divided equally between the two hands. This approach provides a platform
for both hands to perform most finger combination with no restriction on tempo.
7.9.4 Repeated notes and their technical relationship to tremolos
Figure 50 illustrates how reordering the notes can be applied in a contextual situation.
Here it is used as a possible solution to the wide-ranging arpeggios that appear in bars 2
and 3 of ‘Caprice No. 1’.
Figure 50
This also provides a solution to the problem of performing repeated notes in rapid tempo
through adapting the double-handed tremolo used in ‘Caprice No. 6’.
Two types of tremolo are employed in ‘Caprice No. 6’; one involving notes played on the
same string and the other spanning two strings. Tremolos that occupy the same string
have been dealt with extensively in relation to the single-finger tapping used in ‘Caprice
348
No. 6’. However, with the double-handed arrangement of that piece, tremolos that move
between strings are used extensively with an adaptation of the movement introduced in
Figure 50.
Generally speaking the two-string tremolo is used to play larger intervals such as the
major third as seen here in Figure 51. The same technique can be used for fifths and
octaves.
Figure 51
‘Caprice No. 6’, bar 7
Figure 52 illustrates this procedure in the context of ‘Caprice No. 6’. All of these
tremolos utilize autonomous note generation since two-string movement makes
continuous vibration unattainable.
349
Figure 52
Related, yet less repetitive, are the two-note unison patterns that occur on the top two
notes of each arpeggio in Figure 50. These however, require more control than the
continuous tremolo in Figure 52. The two methods of orchestrating hammer-on pull-off
articulations illustrated in bar 2 of Figure 49 are also related, using a combination of
continuous autonomous note generations and continuous string vibration. Which of the
two techniques is used is dependent on the range of the notes; those in close proximity
are easier to play on the same string. However, promoting continuous string vibration
rather than autonomous note generation has a number of drawbacks most of which relate
to the fingering of the repeated upper note.
Returning to Figure 50, due to the fact that the nature of the technique precludes the use
of finger-barrés, the reordering of the fingers facilitates the execution of the larger
stretches which creates a number of fingering anomalies. Because the highest note of
each arpeggio is repeated, the first finger, although the logical choice, cannot be used to
fret the second of these notes. This is owed to the extreme difficultly of getting the
second finger to the correct fret. The issue can be seen clearly when examining Figure 53
where the second B would be extremely problematic to fret if the first and second fingers
were reversed. The only other possible method would be to use the first finger to fret
both the second F sharp and B consecutively which at faster tempi is difficult. 350
Figure 53
This increases the stretches between the fourth and second finger, leaving the first finger
in a usable position to continue the string vibration on the B.
However, in both the second and fourth arpeggio of Figure 50, shown here in Figure 54,
the conventional finger-barré is replaced by the second and first finger fretting
consecutive notes on the same fret.
Figure 54
This can create difficulties, requiring the right hand to move into a position parallel to the
fingerboard in the manner popularized by Joe Satriani.633 Although a full reorientation of
the hand is unnecessary and impractical, enough wrist motion needs to be present to
facilitate the playing of the repeated note and its successor. This adaptation of the more
633 Observed in Joe Satriani, ‘Masterclass, Midnight’, http://www.youtube.com/watch?v=XOMeSILZoS8
351
; accessed 27th November, 2006.
352
rigid right-hand position previously described allows easier access to the notes that
occupy the same fret on different strings, in this case the notes E and B.
Moving between arpeggios in bar 1 requires the use of the finger slide in order to retain
usable string vibration which eliminates the need for a first note hammer-on. Tempo
notwithstanding, the first finger is required to slide rapidly between notes to prevent the
inadvertent muting of the string vibration at the fret point. However, changing between
the second and third arpeggio can be more difficult as the first finger is now required to
finger consecutive notes on adjacent strings. Although this is avoided in Figure 53, it is
one of the most usable technical options in terms of linear movement.
7.9.5 Double-handed linear motion
Until now, double-handed linear motion has been limited to the type illustrated in Figure
47. Figure 50 shows that parallel and contrary motion both within and between the hands
can also be accommodated.
Figure 55 is a contextual example of how different linear motions can be combined by
the division of the notes between the hands. With many of the notes appearing on
adjacent strings, the apparent chord clustering in the tablature wrongly gives the
impression that the notes could be played solely in one hand.
Figure 55
‘Caprice No. 11’, bars 93-95
Figure 56 illustrates that it is possible to orchestrate the fingerings to avoid crossing the
hands. This can be achieved whilst effectively dealing with both contrary and parallel
linear motion.
Figure 56
The right hand mainly uses continuous string vibration articulations which contrast with
the left hand's use of autonomous note generations. The reason for the orchestration of
these right-hand articulations is to facilitate right-hand repositioning at the beginning of
every bar. This is done irrespective of whether the melodic material appears to need it or
not. This can be seen clearly in Figure 57, where both the second and fourth fingers are
used consecutively on the same note.
353
Figure 57
Repositioning the right hand at the beginning of every bar also provides a point from
which hand motion can be synchronized irrespective of whether both hands move
simultaneously on the first beat.
As there is no appreciable musical advantage in utilizing either of the hands to play
certain notes, orchestration of both the melody and part of the harmony can be assigned
to the right hand. The choice of finger orchestration can often be determined by factors
as simple as note proximity to available fingers. However, the guiding premise is that
musicality should remain unaffected. Therefore, “ping-ponging” harmony notes between
the two hands can be used to combat more difficult fingerings that would otherwise occur
if a strict melody-harmony division of hand function were adhered to.
Figure 58 illustrates how the line between melody and harmony assignment between the
two hands can be blurred in order to avoid more difficult finger stretches.
354
Figure 58
‘Caprice No. 4’, bars 52-54
This figure illustrates many of the technical aspects previously discussed including
harmony note movement, contrary and parallel linear motion and three-note-per-string
fingering patterns. Figure 59 illustrates one of the possible fingering orchestrations that
utilize all the aforementioned factors.
Figure 59
As in previous occasions, the left-hand fingering has been simplified: it utilizes the first
and fourth fingers exclusively making the more complex right-hand articulations easier to
focus on. The basic principle behind the right-hand finger orchestrations is to keep
position shifts to a minimum, thus providing a stable reference point for fingerings.
Although there are many fingering options that could be applied in this context, the one
presented in Figure 59 avoids unnecessary position shifts.
355
Figure 60 shows how, with minimum hand crossing, correct finger orchestrations can
avoid positional movement whilst the notes more comfortably “fall” under the fingers.
Figure 60
On cursory examination, the right-hand G in its current configuration creates a stretch
which can be eliminated by playing the same note on the B string on the eighth fret.
However, over the duration of the bar this option creates two position shifts with the first
and second two-note chords not falling as naturally under the fingers.
There are obviously times where multiple position shifts are unavoidable and indeed
advantageous to subsequent fingering patterns. In combination with personal preferences
this makes finger orchestration a variable that is both inexact and requiring constant
revision.
The application of these principles to melody and accompaniment is relatively simple.
However, technical advancement requires more even left-hand participation. From a
technical perspective, therefore, ‘Caprice No. 8’ provides just such an opportunity. Bar
59 illustrates a more even distribution of material between the two hands. It is the only
instance in the Caprices that this particular musical configuration takes place.
356
There are two different fingering configurations represented in the score, illustrated here
in Figures 61 and 62.
Figure 61
‘Caprice No. 8’, bar 59
Figure 61 more accurately reflects the sequential character of the music in the fingering,
with sequential fingering patterns mirrored on each string. Although the right hand often
plays the higher melody notes in this case the reverse is true. The consistent nature of the
parts to some degree retains the general theme of uniformity. This type of fingering
articulation and movement can be beneficial both in terms of the memorization of
passages and in focusing on maintaining correct position location within the linear
motion rather than the melodic material.
However, Figure 62 illustrates an approach dictated more by musicality and note
proximity rather than fingering patterns. It utilizes a combination of autonomous note
generation and continuous string vibration.
357
Figure 62
‘Caprice No. 8’, bar 59
To avoid the larger stretches that occur in the right hand of Figure 61, continuous string
vibration has been replaced by autonomous note generation. This creates a situation in
which the majority of notes occupy adjacent strings on the same fret or within close
proximity of one another. The first half of the bar in the right hand is one such case. The
angled right-hand approach can be more beneficial, allowing access for both the first and
second fingers. This technique is similar to one that was presented in conjunction with
Figure 50, the major difference being that the right hand can retain this position for half
the bar.
Right and left-hand motion can be synchronized at the beginning of each beat where both
hands move to the new position. Once the correct fingers have been placed at the
beginning of each beat, relative finger placement can then be used to locate the other
notes in the bar. The independence of the two lines in this passage allows the hands to
work together in a left-hand, right-hand sequential order. This places the correct
rhythmic emphasis on the strong beats of the bar.
358
359
7.9.6 Summary
Multi-fingered double-handed independence both widens the scope for technical
development on the electric guitar and increases its available repertoire exponentially.
Although this thesis limits its application to the Caprices, the technique can be easily
applied to keyboard music. It can be argued that when transposing the music of double-
handed instruments such as piano to the electric guitar, musical sacrifices are often
required to make it playable. However, with the double-handed approach these sacrifices
(usually in the harmonic content), can be kept to a minimum with many of the harmonic
transpositions retained in their original form.
In order for these transpositions to be effective, clean and concise string vibrations need
to be generated by both hands independently using both continuous and autonomous
string vibration. By its very nature, continuous string vibrations begin with an
autonomous finger generated hammer-on. The resulting string vibration is retained
through a series of hammer-ons and pull-offs. Both hands are required to perform this
function in conjunction with parallel and contrary linear motion which can include hand
crossing and harmonic note passing.
The continuous string vibration is represented by a tie that spans the length of the string
vibration, similar in principle to a continuous bowing stroke. In contrast, autonomous
string vibrations are created as needed for individual notes or chords and are intrinsically
slower. In the Caprices, the left-hand harmonic accompaniment is often generated
utilizing autonomous string vibration whilst the right-hand counterpart, where possible,
makes use of continuous string vibration. Where melodic material is largely single notes,
continuous string vibrations can be more effectively used.
360
Although, this is the case within the Caprices it by no means establishes a rule that can be
applied to all multi-fingered autonomous finger-tapping. The Caprices are built around
the violin’s technical attributes and these ultimately influence how the multi-finger-
tapping technique is applied. The subjective nature of which technical variation to apply
is dependent on a combination of personal and technical preferences.
7.10 Chapter summary
The hammer-on technique provides a multitude of musical possibilities when applied to
the Caprices. The subtle attack can be used to give legato passages a smooth feel, free of
plectrum attack, whilst the more difficult multi-finger-tapping provides a truly
independent realization of the melody and harmony.
361
Chapter Eight: Chordal technique
8.1 Introduction
Far from being a new concept, chordal picking has been around for a long time on the
nylon string guitar. With the advent of the steel string acoustic, semi-acoustic and
electric guitar, derivative picking and finger-styles have evolved from the traditional
finger-fingernail combinations used on the nylon-string guitar.
This development has arisen from the increasing demands that innovative players place
on their instruments. In addition to this, advances in instrument building technology such
as computer-controlled fingerboard replication have vastly improved construction and
ensured the wide availability of superior instruments.
All these factors lead to a number of innovations concerning picking styles which have
been modified and applied to the Caprices. These can be divided into three related but
distinct techniques; chordal picking and strumming utilizing the plectrum,634 chicken-
picking utilizing a combination of plectrum and fingers635 and finger technique.636
Throughout the transcriptions of the Caprices, chordal structure is dictated by the original
violin technique which can cause awkward fingerings, muted notes and other problems
when transferred to the electric guitar. The prevalence of chords throughout the
634 Meola, Masters Series, 1986, available from http://www.youtube.com/watch?v=sQ3HxD8kv9o; accessed 2nd April, 2007. 635 Observed in Albert Lee, ‘Country Boy’, http://www.youtube.com/watch?v=AOFpQd7aJ9U; accessed 12th February, 2007. 636 Observed in Paco De Lucia, ‘Solo Spot’, http://www.youtube.com/watch?v=OV_OysllKJQ&mode=related&search=; accessed 12th February, 2007.
362
transcriptions necessitates further investigation into issues surrounding chord playing and
related techniques.
8.1.1 Bowing, chordal picking and pull-offs
Bow usage637 and/or right-hand plucked strings638 and pull-offs, exhibit many timbral
similarities to those heard in chordal pickers such as Al Di Meola639. This can be
observed in Variation IX of ‘Caprice No. 24’ where a combination of pull-offs and bow
strokes are used. The initial vibration is started with either the bow or right hand, with
the subsequent notes in the ascending arpeggio and scalic patterns utilizing left-hand pull-
offs. This creates a timbre comparable to heavily dampened notes on the electric guitar
(or steel string acoustic), which in the transcription is emulated through the use of
dampening in conjunction with alternate-picking, string-skipping and sweep-picking.
8.1.2 Chordal playing and muting
The use of the plectrum for both strumming and chordal picking occurs in a number of
places throughout the transcriptions but its application can create a number of technical
complexities which finger-picking and chicken-picking can avoid. These two-finger
techniques allow strings to be played simultaneously whilst a grouping of notes struck by
the plectrum is played consecutively. This allows the two-finger techniques the freedom
to assign an individual finger to each string and its corresponding note. However, when
striking multiple notes with a plectrum strum, it is extremely difficult to target strings
accurately contributing to the chord and avoid those which are not part of the chord. It is
necessary, therefore, to mute adjacent and intermediate strings that do not belong to the
637 Observed in Jascha Heifetz, ‘Caprice 24’, http://www.youtube.com/watch?v=vPcnGrie__M; accessed 21st March, 2007. 638 Observed in Augustin Hadelich, ‘Caprice 24’, http://www.youtube.com/watch?v=wB034tKF36c; accessed 21st March, 2007. 639 Observed in Al Di Meola, ‘Solo Spot’, http://www.youtube.com/watch?v=RHnth4Av-Nk; accessed 21st March, 2007.
structure of the chord.640 The differences in tuning between the violin and the guitar
further increase the technical difficulty creating a number of chord shapes that require
multiple string mutes and less conventional chordal fingerings.
Figure 1 illustrates how, with chords spread across so many strings and only one strum to
strike the relevant ones, a number of issues can arise.
Figure 1
‘Caprice No. 1’, bar 52
Within this bar there are a number of aspects that require further examination, all of
which have far-reaching ramifications for multiple-string dampened chords. Most
fundamental is the direction of a strumming stroke.641 In this case, two down-strokes
prevent excess plectrum motion, similar in principle to sweep-picking. The motion
required is a down-stroke followed by either a pushing through motion utilizing the
arm642 or a wrist motion643 to strike the subsequent three-note chord. Irrespective of
stroke direction, the depth that the tip of the plectrum moves below the strings dictates to
a certain degree the dynamic level of each of the notes in the chord.644 The plectrum
must retain an equal relative depth below the string, if dynamic equality is to be
640 Observed in Meola, Masters Series, 1991. 641 Ibid 642 Meola, Al Di. Guide to Chords Scales and Arpeggios. Milwaukee: Hal Leonard Publishing Corporation, 1989, p. 11. 643 Ibid
363644 Gilbert, Intense Rock 2, 1991.
364
sons.
maintained throughout the chord. In addition, a certain amount of flexibility is required
in plectrum pressure. This allows a fluid movement through the chord avoiding
“snagging” the plectrum on any one string.645 This is comparable in principle to the
more passive plectrum pressure that was discussed in relation to sweep-picking and for
similar rea
Within the tablature of Figure 2, the muted strings within the chord are illustrated with a
bracketed cross.
Figure 2
These are dampened utilizing the unused underside of the finger on the string
immediately below them.646 Although the finger is fretting a note it is possible to utilize
the unused part of that finger closest to the redundant string by flattening out the finger
arch, thereby muting its vibration.647 On the chordal patterns that utilize the finger-barré
it is necessary to mute two strings, the lower with the third finger and the higher with the
second finger; the high E string is not struck at all.
Both the second and fourth chords utilize a finger-barré which gives the hand the ability
to hold down one position for both the single note and its subsequent three-note chord,
giving the fingers the extra time needed to be positioned correctly for both the chord and
645 Garsed, Rock Fusion, 1995. 646 Gambale, Monster Licks and Speed Picking, 1988. 647 Ibid
the muted notes. However, the first and third chords, although having fewer muted notes,
require the finger that is placed on the lowest note to be reused in the three-note chord.
Moreover, in the first chord the reused finger must be repositioned in the space of a
sixteenth note both to fret the B accurately and to mute the unused G string. The
problematic nature of this kind of movement is offset by the advantage of having a
common finger which can function as a reference point when moving between positions.
It is worth noting that the dominant-seventh chord appearing with the finger-barré occurs
throughout the Caprices in similar configurations, making it a required shape to master.
One such example is shown here in Figure 3, utilizing the same fingering and finger-
barré within a different musical pattern.
Figure 3
‘Caprice No. 1’, bar 3
Figure 4 illustrates an alternate strumming approach with a consistently changing bass
note.
365
Figure 4
‘Caprice No. 15’, bar 26
Unlike the previous example, this utilizes an up-down-up pattern with the notes
orchestrated in such a way that the strumming motion moves towards the subsequent
note.648 This provides an efficiency of motion, similar in principle to that promoted in
both sweep-picking and alternate-picking.
The two consecutive lower notes in the middle of the bar function as a turnaround point.
The efficiency of the plectrum stroke motion is retained by means of the consecutive up-
strokes which occur immediately prior to the two lower notes in the middle of the bar.
The double up-strokes contrast with the double down-strokes seen in Figure 2.649 These
utilize a pulling motion to strike both the double-stopped and muted string650 in addition
to the normal single up-stroke on the lower B. Both the double-down stroke and the
double up-stroke provide an ideal means to maintain an efficient plectrum motion whilst
addressing the need to change strumming stroke.
648 Observed in Meola, Masters Series, 1991. 649 Ibid
366650 Ibid
367
The muted notes have a percussive quality functioning within the chord emphasizing the
initial attack of the plectrum.651 As a percussive tool their effectiveness is attributed to
the short time that they are audible. When performed correctly, this factor lends the
initial attack an authority from which only the desired notes emerge. This effectively
blends both the attack and harmonic content into the sound of the chord. Obviously, at
the tempi that are encountered in the Caprices the effect is almost instantaneous and
resembles a chord with a strong attack. The more muted notes that occur within the
chord the stronger the attack, making it imperative that plectrum pressure is altered to
retain both dynamic continuity and control.
Another related factor that influences plectrum pressure, movement and wrist movement,
is the number of strings that the chord spans. Technically speaking, the larger the span of
strings the faster the strum motion needs to be in order to retain consistent timing. Even a
slight alteration in speed can require a corresponding decrease in plectrum pressure to
prevent the pick becoming “snagged” on any individual string. Thus, if the rapid pulling
or pushing motion of the strum changes the angle of the plectrum, the reduced plectrum
pressure allows the pick to move more easily onto the next adjacent string.
The percussive nature of the strum with the additional muted notes dictates the need to
emphasize correctly the strong beats of the bar wherever possible. Due to the fact that
strummed down-strokes are generally stronger than strummed up-strokes it is possible to
651 Observed in Meola, Masters Series, 1991.
368
both mimic the bowing strokes and emphasize the strong beats in the bar.
8.1.3 Chordal picking
Chordal picking is a technique adopted by many steel-string acoustic guitarists to play
chords. Unlike in conventional arpeggiation, the notes are allowed to run together.652
From a technical perspective, chord shapes like those encountered in ‘Caprice No. 1’
have been arranged so that the notes are played consecutively. However, chordal picking
can also be applied here with different musical results due to the employment of
simultaneous vibrating strings.653
This technique has been avoided in the current orchestration since it is more usually used
on the acoustic guitar.654 Although the two instruments frequently employ very different
techniques, many passages in the Caprices can be transposed unaltered to the steel-string
acoustic guitar. Therefore, chordal picking, as has been described above, can be
successfully applied to many of the heavily arpeggiated sections of the Caprices. This in
itself makes the technique worthy of further investigation and development.
Figure 5 illustrates a practical example of how chordal picking functions in contrast to
sweep-picking; one of the main differences is the execution of the plectrum strokes.
652 Heard in ‘Orient Blue’, Al Di Meola, World Sinfonia, Tomato Records, INA600772, 1991. 653 Heard in ‘Orient Blue’, Meola, World Sinfonia, 1991. 654 Heard in ‘Evil Eye’, Malmteen, Rising Force, 1984.
Figure 5
In sweep-picking string vibration occurs automatically as the plectrum is pushed from
one string to the other whereas in chordal picking the notes are individually struck.655
Although avoided within the technique of sweep-picking, these consecutive down-strokes
can be extremely effective in the performance of arpeggiated chords with a sustained
duration,656 shown here by the use of ties.
One of the drawbacks of consecutive string repeated strokes is the limitation placed on
velocity. Physical efficiency is a primary concern manifesting itself in an up-stroke on
the final note of the arpeggio.657 Similar in notational and functional form to that of
sweep-picking, the up-stroke hand motion aids efficiency by reversing the motion
towards the subsequent note.658
Another difference illustrated by the note ties is the length of the string vibrations in
comparison to sweep-picking; the note is stopped only when it is re-struck to repeat the
arpeggio. This continuous ring-on effect is characteristic of this type of picking, allowing
most notes to reach their full duration and linking one arpeggiated chord to the next.
655 Heard in ‘Passion, Grace and Fire’, Al Di Meola, Passion, Grace and Fire, CBS, Inc., CK 38645, 1983. 656 Observed in Meola, Masters Series, 1991. 657 Meola, Masters Series, 1991.
369658 Ibid
370
8.2 Finger picking techniques
8.2.1 Introduction
Many of the chords in the Caprices have been orchestrated using the plectrum. However,
the technique of muting strings whilst fingering chords can be extremely difficult to
master, necessitating alternative options notated in the ossia staff.
These options offer two of the more mainstream types of chordal playing; the plectrum
finger combination technique of chicken-picking and the finger technique associated with
nylon string guitar. These two techniques are closely related and employ a more exact
system of finger and thumb assignment to specific strings than strumming technique.
This type of finger assignment facilitates increased accuracy, giving it a distinct
advantage over the more randomized plectrum technique. One of the advantages of
individual finger-per-string assignment is an increase in speed.
Finger technique and chicken-picking are employed in a very elementary form
throughout the Caprices. They are almost always used to combat situations where
multiple strings require muting and/or complex fingerings arise.
371
sion.667
um
e
r,
second on the lower string above the plectrum and the fourth on the highest
string.
8.2.2 Chicken-picking
Chicken-picking,659 which combines both plectrum and fingers, has the advantage of
exploiting both timbres660 and offers the performer a wide range of string tone variations.
661 Its diversity allows the technique to be applied to many playing contexts from
country music662 (where the technique is widely used)663 to jazz664, blues665, rock666 and
fu
The lack of strict conventions allows for any of the free fingers not holding the plectr
to strike the strings.668 The plectrum most commonly strikes the bass note, with th
second, third and fourth finger placed on their corresponding strings.669 Figure 6
illustrates the second, third and fourth fingers occupying the strings in ascending orde
with the
659 Morse, The Complete Styles, p12. 660 Tom Wheeler and Steve Fisher, ‘State of the Art Country Rock Guitar’, Guitar Player, Vol. 15, No. 5, May 1981, pp. 30-52. 661 Observed in Garsed, Rock Fusion, 1995. 662 Observed in Mitch Merrett, ‘Chicken-picking #4’, http://www.youtube.com/watch?v=9oT245PpsQk; accessed 20th February, 2007. 663 Steve Trovato, Country Rock, Soloing Concepts, R.E.H. Publications Inc., 1988. 664 Observed in Tim Wallis, ‘Pimpin Popcorn’, http://www.youtube.com/watch?v=EPClD4khywg; accessed 20th February, 2007. 665 Observed in Blues Architect, ‘Blue Chicken’, http://www.youtube.com/watch?v=bnSIBKcJ1xg; accessed 20th February, 2007. 666 Observed in Vincent, Vinnie. Metal Tech, Style, Speed and Phrasing, Seattle: R.E.H. Publications Inc., 1988. ; Becker, The Legendary Guitar of Jason Becker, 2007. 667 Observed in Brett Garsed, ‘Live’, http://www.youtube.com/watch?v=jed_mvEfZ0U; accessed 20th February, 2007. 668 Observed in Blues Architect, ‘Blue Chicken’, http://www.youtube.com/watch?v=bnSIBKcJ1xg; accessed 20th February, 2007. ; Lane, Power Licks, 1989. 669 Wheeler and Fisher, ‘State of the Art Country Rock Guitar’, pp. 30-52.
Figure 6
‘Caprice No. 10’, bar 47-48
This assignment represents a typical positioning of the fingers used in the Caprices. As
can be seen in this example, the first chord is followed by alternately-picked three-note-
per-string scalic motifs, not dissimilar to those found in the alternate-picking section. As
the plectrum strikes the lower string with a down-stroke, it is then required to skip to the
high B with another down-stroke. Each of the chicken-picked chords can be arpeggiated
which gives the plectrum time to relocate during this process.
Given the assignment of individual fingers to strings, correct hand orientation is a high
priority as it affects optimal finger positioning. In turn, hand orientation and overall
positioning is dependent on the individual’s ability to attain the necessary stretches which
makes it variable.
In the Caprices both three-note and four-note chords can be struck simultaneously.
However, if the objective is to mimic an arpeggiated bow stroke the assignment of
individual fingers to strings makes this relatively easy.
372
8.2.3 Finger-picking
Given the limited role finger picking plays in the Caprices, and the extensive literature
on the technique that already exists, no more than a cursory explanation of it is needed
here. In this technique the thumb strikes the lowest note in the chord with the fingers
being assigned to the remaining strings.670 A typical example of this technique can be
seen in Figure 7,671 with the additional use of hammer-ons and pull-offs to avoid complex
plucking patterns.
Throughout the Caprices finger-picking only appears with its alternate technique,
chicken-picking, in combination with hammer-ons and pull-offs.
Figure 7
‘Caprice No. 10’, bar 47-48
Unlike in the chicken-picking option shown in Figure 6, where all the notes are
alternately-picked, Figure 7 utilizes one of the strengths of low electric guitar action:
hammer-ons and pull-offs. By doing so, the development of scalic finger picking is
unnecessary. However, the first finger is used to initiate the string vibration at the
beginning of the each descending scalic pattern.
670 Martin, El Arte Flamenco De La Guitarra, p. 20.
373671 Ibid
374
Unlike in chicken-picking, the first finger does not hold the plectrum, which frees it up
for generating string vibrations within the chord. As with chicken-picking, the chords
can be arpeggiated allowing time for the first finger to reposition itself to start the string
vibration needed for the descending scalic motif.
One of the largest problems facing the finger technique is the player's ability to change
seamlessly from using the plectrum to finger technique and back again. The plectrum,
therefore, requires relocation to a position from which it can easily be recovered once the
passage has been played. The two positions mentioned previously in the hammer-on and
pull-off chapter are between the first and second knuckle of the thumb and between the
first and second knuckles of the second finger. Two of the principal reasons for correct
placement are unrestricted finger movement and instantaneous plectrum recovery.
Achieving the balance between placing the plectrum, so as not to restrict finger plucking
whilst ensuring that it will not be dropped, can be extremely difficult. The speed at
which the plectrum placement and recovery can be executed dictates whether utilization
of the finger picking nylon string technique is a feasible option.
8.3 Chapter summary
Chord playing makes up a substantial enough portion of the transcriptions to warrant an
independent chapter explaining its contextual application within the Caprices. The ossia staff
variants of chicken-picking and finger-picking provide an easier option to the more difficult
plectrum-strummed technique.
The difficulty lies in the need for a single finger to mute its upper adjacent string whilst cleanly
fretting the note. This can be very challenging, especially when combined with
375
rapid chord changes, unorthodox fingerings and the need for multiple string mutes.
These factors are a by-product of the transcription process which makes chord shapes that
comfortably lie under the fingers on the violin less accommodating on the electric guitar.
The three basic chord-striking techniques used in the transcriptions are plectrum only, plectrum
and fingers (chicken-picking), and fingers only. All three have advantages and disadvantages in
their use, the biggest determining factor being the guitarist's ability to change between
techniques.
As utilization of the plectrum to play chord shapes requires virtually no preparation it is the
preferred option in most instances and this is reflected in its central position in the score. The
chicken-picking alternative requires a settling of the hand down onto the strings so that the
fingers not holding the plectrum can be assigned to individual strings.
This technique requires only slightly more preparation time than the standard plectrum strum
previously mentioned. However, the nylon string finger picking technique, although familiar to
classical guitarists, poses a difficult challenge owing to the need to master the technical problems
associated with plectrum placement and recovery.
All three methods of chordal picking can be used separately or in combination with other
techniques. The degree of success is dependent on individual preferences and physical
attributes.
376
As with all techniques, mastering chordal passage playing requires consistent practice and
technical modification, with each solution dependent on the individual: there is no one “correct”
technique.
24 Caprices Transcriptions
377
Section Two
Transcriptions of the Caprices
Introduction
There is yet no “Urtext” of the Caprices. The Edizione nazionale delle opere di Niccolo
Paganini (1976- ) is still in progress with six volumes completed and three in
preparation. There are a number of different editions of the Caprices available in both
hard copy and e-book, such as those edited by Kaspars Vilnitis,667 Harold Berkley,668 and
Fabrizio Ferrari.669 However, the Peters Edition670 is arguably the most renowned and
widely used performing edition, featuring the distinctive fingerings of the distinguished
violinist and violin pedagogue Carl Flesch. This, in conjunction with decades of
published reprints, makes it the preferred choice on which to base the transcriptions.
Transcriptions
The transcriptions have been faithful to the original notes, dynamics, note groupings, and
tempi of the Peters Edition. However, because the guitar is a transposing instrument the
actual sounding pitch is an octave lower. All octave transpositions (8va) in the Peters
Edition have been applied in the accompanying tablature, making any further
transposition unnecessary.
667 Ebooks, http://ebooks.ebookmall.com/title/paganini-24-caprices-for-violin-op1-paganini-vilnitis-ebooks.htm; assessed on July 4th 2007. 668 Nicolo Paganini. Paganini Op.1 Twenty-Four Caprices. USA: Schirmer, Inc., 1944 669 Nicolo Paganini. 24 Caprices Op.1. Virtual sheet music, Inc., 2005. 670 Nicolo Paganini. 24 Capricen fur Violine Solo Opus 1. London: Peters, 1984
378
Digressions from the original score
Due to the fact that this is not a scholarly edition, there are a number of digressions from
the original score that are not signaled in the normal manner with brackets and dotted
slurs. Figure 1 shows the bow strokes as given in the Peters Edition and the transcription
showing how these might appear in a scholarly edition using dotted slurs.
Figure 1
‘Caprice No. 5’, bar 1
Peters Edition
Transcription
A certain degree of licence has been taken in application of electric guitar technique.
One of the most apparent is the addition of the double-handed arrangements that appear
in a number of the caprices. Figure 2 shows how artistic licence can be used to its
maximum effect creating different timbral options. In contrast to the original violin
version, bars 12-16 of the transcription illustrate a more percussive right-hand technique.
However the double-handed arrangement is less abrasive in terms of timbre, bridging the
gap between the Peters Edition with the main transcription.
379
Figure 2
‘Caprice No. 5’, bar 8-19
Peters Edition
Transcription
Transcription
Double-handed arrangement
The difference in technical requirements between the instruments render violin fingering,
bow phrasing and positional information virtually irrelevant in terms of electric guitar
playing. Figure 3 illustrates how these factors have been replaced in the transcription
380
with tablature which provides positional information whilst suggesting fingering and
plectrum stroke information.
Figure 3
‘Caprice No. 12’, bar 62
Peters Edition
Transcription
Moreover, digressions from the phrasing provided by the Peters Edition occur in a
number of places. These have been replaced by phrasing idiomatic to guitar technique.
This is most apparent in ‘Caprice No. 17’ and ‘Caprice No. 24’, where hammer-ons and
pull-offs replaces the original phrasing. Figure 4 shows how the original bowing phrase
has been disregarded in favor of one that more clearly defines the note groupings per
string whilst using the more legato technique of pull-offs. This to some degree mimics
the original sound of the bow stroke whilst making it relevant for guitarists.
381
Figure 4
‘Caprice No. 17’, bar 7
Peters Edition
Transcription
Electric guitar harmonics differ to those offered in ‘Caprice No. 9’ to such a degree that
they are unusable in their current form. Although a multitude of harmonic techniques are
available, none suitably replicate the notation of ‘Caprice No. 9’, necessitating their
removal from the transcription. Figure 5 illustrates the removal of the harmonics and the
consequent effect on the overall passage.
Figure 5
‘Caprice No. 9’, bar 40
Peters Edition
382
Transcription
In addition to this, repeat bars have been added to ‘Caprice No. 15’ in bars 28 and 29 to
avoid repeating the same information. Due to the constant referencing of the material in
the text, bar numbers have also been added that do not appear in the original Peters
Edition.
Historical aspects
In Paganini's youth the diverse and colorful musical culture was evident in everyday life.
People in his neighborhood often sang ballads and gypsies played in the streets. Ligurian
dances and the music of bagpipers echoed through the rural outskirts of Genoa, and the
inheritance of the baroque violin was all pervasive. These musical influences can be seen
to a certain extent in the compositional style of the Caprices with influences such as
baroque, ballads, gypsy music and folk dance all present.
The influence of the hunting song, for example, can be clearly seen in ‘Caprice No. 9’,
with its cantering rhythm and a strong harmonic emphasis of thirds, sixths and the use of
fifths to create a fanfare-like melody.
383
Figure 6
‘Caprice No. 9’, bars 1-3
Peters Edition
Futhermore, Paganini gives the direction Imitando il Corno in the second answering
phrase in the lower octave to clarify the influence of the hunting horn.
Figure 7
‘Caprice No. 9’, bars 8-11
Peters Edition
In order to create the atmosphere of the hunt in transcription, it was necessary to assign a
plectrum motif that continually repeats down down up strokes. This effect colors the
rhythmic patterns and repeated phrasing of the melody whilst allowing the music to
maintain swift motion.
384
Figure 8
‘Caprice No. 9’, bars 1-3
Transcription
One of the musical tools favored by many composers from the baroque period,
particularly for the violin, was the use of sequences for both prolongation and
modulation. Throughout the 24 Caprices this compositional tool has been employed
extensively, as in this excerpt.
Figure 9
‘Caprice No. 9’, bars 64-71
Peters Edition
For this reason it was necessary to echo the sequential elements in conjunction with the
original musical intention by replicating the given bow strokes in the transcriptions.
Additionally, it is possible to further enhance sequential passages by replicating each
portion of the sequence using similar string choice and plectrum strokes.
385
Figure 10
‘Caprice No. 9’, bar 64-71
Transcription
‘Caprice No. 14’ presents another fanfare, but this time for trumpets heading off a March.
Figure 11
‘Caprice No. 14’, bars 1-2
Peters Edition
Due to the strong rhythmic element running throughout the “March” sections it was again
necessary to replicate more closely bow strokes with plectrum strokes in the
transcriptions. With the rhythmic element being so central it was also necessary to create
a staccato effect by utilizing the palm of the right hand as demonstrated below.
386
Figure 12
‘Caprice No. 14’, bars 1-2
Transcriptions
This Caprice actually demonstrates sequence in a way that reveals Paganini's earlier
influences and exposure to classical guitar technique with chords followed by single note
melody.
Figure 13
‘Caprice No. 14’ bars 13-17
Peters Edition
Within the transcriptions the rhythmic structure was to a certain extent preserved utilizing
down-strokes on the chords followed by an up-stroke or an up-down-up-stroke.
Although this doesn't exhibit the same smooth legato quality of notes under the same bow
stroke, it befits the influential opening rhythmic motif.
387
Figure 14
‘Caprice No. 14’ bars 13-17
Transcription
This musical figuration appears in a number of different places and is dealt with in a
number of different ways ranging from double-handed finger-tapping to nylon-string
finger technique, the choice being dependent on the individual musical needs of the
Caprice being played.
‘Caprice No. 20’ shows yet another influence of vernacular music on Paganini. Here is a
modal-like bagpipe tune over a D pedal drone.
Figure 15
‘Caprice No. 14’ bars 1-17
Peters Edition
388
An understanding of these and other musical influences provides valuable insight into the
way we perform the Caprices. These influences demand the performer to make technical
as well as aesthetic decisions when approaching these works—works that are not so
much self-contained but drawn from the world around them.
Presentation
The 24 Caprices and the corresponding transcriptions appear in their original published
order, each one prefaced by an accompanying technical overview.
Key for technical overviews
The technical overview table can be broken down into half-bars or eighth notes. The size
of the incremental breakdown is dependent on the technical building blocks and their
perceived relevance within each bar.
The numbered points within each of the technical notes correspond with a number and
asterix within the score.
Key
FH: First half of the bar
SH: Second half of the bar
p: pull-off
h: hammer-on
Scale B=♪
B1: 1st eighth
B2: 2nd eighth
389
B3: 3rd eighth
B4: 4th eighth
B5 5th eighth
B6 6th eighth
B7 7th eighth
B8 8th eighth
Chicken-picking and finger-picking guide.
P=Plectrum
T=Thumb
1=First finger
2=Second finger
3= Third finger
4= Fourth finger
Plectrum Stroke Abbreviations
Down Π
Up V
Down-strokes Πs
Up-strokes Vs
Down-Up ΠV
Up-Down VΠ
Down-Up-Down ΠVΠs
Up-Down-Up strokes VΠV
390
391
Down-Up strokes ΠVs
Up-Down strokes VΠs
Down-Down-Up strokes ΠΠVs
Consecutive Down ΠΠΠs
Strokes s
Caprice I: technical break down, overview and notes
Sweep-picking Alternate-picking Bar numbers
String-skipping Double and triple-stops
Combination of alternate-picking and sweep-picking
Double-stops
1-50 3 FH, 5, 6 SH, 7 SH, 8-13, 14 SH, 25 B1 and B3, 26 B1, 27 SH, 29, 31, 33, 35, 37, 39, 40-44, 49 FH, 50 SH
15 SH, 16, 21-24, 25 B2 and B4, 26 B2-B4, 27 FH
1, 2, 3 SH, 4, 6 FH, 7 FH, 13 FH, 14 FH, 15 FH, 17-20, 45-48, 49 SH, 50 FH
28, 30, 32, 34. 36, 38
51-77 51 FH, 54 FH, 56-58, 59 B1, 60 FH, 61-62, 63 FH, 65 B2-B4, 66
51 SH, 52, 53 FH, 75
53 SH, 54 SH, 55 B1, 60 SH, 63 SH, 65 B1, 67, 69-74, 76, 77
55 B2-B4, 59 B2-B4, 64, 68
Technical overview
‘Caprice I’ can be broken down into two very specific techniques; alternately-picked
double-stops and sweep-picked single notes. The technique predominantly used in the
theme consists of string-skipped sweep-picking. Alternately-picked double-stops serve
as a tool to aid modulation. The consistency of the plectrum technique helps imitate the
original ricochet bowing, giving it a similar feel on the electric guitar.
392
393
1. ΠΠΠs in the cadential areas (bars 15-17, 25-27, 51- 52) allow for a heavier
emphasis on the chords than would be possible using the more conventional
alternating-plectrum strokes. The use of ΠΠΠs are feasible because not only do
the thirty-second notes change to sixteenth notes but the cadential points also
allow for a relaxation in tempo.
2. In bar 45 the plectrum stroke on the last note is arranged so that the second and
third note of bar 46 is a string-skipped sweeping motion which is retained for the
rest of the bar.
3. In order to maintain stylistic continuity, bars 69-76 have been arranged to utilize
the same sweep-picking technique across fewer strings, giving the final cadential
phrase a legato feel and tone.
Technical summary
The majority of ‘Caprice I’ utilizes the sweep-picking technique. However, intermittent
use of alternately-picked double-stops occurs as does consecutive down-stroked triple
stops.
Andante I
simile
BEADGBE
76 9
9 99 6
7 6 99
7 7
99 6 7
6 99 9
9 67
79
8
7 7
8
97
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74 5
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69
6
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96
7
79
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1114
11
11 11
11
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14
13
12 12
13
1412 14
18
16
14 14
16
1814 16
19
16
16 16
16
1916 17
19
18
17 17
18
1917
10
13
12
1221 2112
12
13 16
15
1524 2415
15
16 13
12
1221 2112
12
1315
19
18
18 18
18
1915 12
16
15
15 15
15
1612 9
13
12
12 12
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139
13
1
79
8
7 11
56
47 7
4
65 4
7
4
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56
47 7
4
65 4
7
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57
6
5
7
69
7
394
16
9
79
9
8
89
8
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57
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8
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79
912
7 109
9 99
10 7 6 99
11 119
9 6 7 109
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19
79
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8
97
7 109
9 99
10 7 6 99
11 119
9 6 7 109
9 99
10 77
9
8
7 7
8
97 7
9
7
7 7
7
97
22
10
9
7
8 8
7
9
10 10
9
7
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129
10 810
9
10 10
9
108 8
10
12
15 15
12
108 8
10
12
19 19
12
108 8
10
1222 22
12
108
25
1
810
9
8
912
12
12
1012
11
10
1114
14
14
1214
12
12
14
1214
14
101216
15
1216
1517
1417
15
1517
17
16
15
15 24 27
14
28
15
1615
1413
1212
1614
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1211
109
97
75
54
42
35
4
3 3
4
53 3
6
57 7
5
63 3
5
1615
1413
1212
1614
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109
97
75
54
42
395
31
35
4
3 3
4
53 3
6
57 7
5
63 3
5
1615
1413
1212
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109
97
75
54
42
35
4
3 3
4
53 3
5
3
3 3
3
53
34
36
1514
1313
1211
1211
1513
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1110
108
86
65
53
46
5
4 4
5
64 4
6
4
4 4
4
64 4
7
1615
1414
1312
1312
1614
1413
1211
119
97
76
64
37
57
6
5 5
6
75 5
7
5
5 5
5
75 5
8
1716
1515
1413
1413
1715
1514
1312
1210
108
87
75
68
7
6 6
7
86 6
8
6
6 6
6
86
40
69
6
6 6
6
96 6
9
9
9 9
9
96 7
9
8
7 7
8
97 7
9
7
7 7
7
97 7
57
7 7
75
7 7
5
6 6
5
7
43
p
2
810
9
8 8
9
108 8
10
8
8 8
8
108 8
11
8
8 8
8
118 8
11
11
11 11
11
118 9
8
66 6
6
89
396
46
simile
8 11
8 1111 8
11 8 98
66 6
6
89
911
10
9 9
10
119
97
6 9 9 6
79 8 11
8 1111 8
11 8 97
6 9 9 6
79
49
1
911
10
9 9
10
119
97
6 9 9 6
79 7
11
7 9 9 7
117
1012
11
10 10
11
1210 11
10
9
9 9
9
10
11 1214
13
12
1014
13
12
52
9
79
9
1012
11
10
12
1114
12
1214
13
12
1214
13
12
7 119
9 99
11 7 77
55 5
57
7 75 8
5 5
8 57
55
1211
99 13
121110
99 10
9
1312
1110
99
1311
119
711
9
7 7
9
117 7
9
8
7 7
8
97 12
119
9
12
1214
13
12 12
13
1412
58
12
10
1012 12
10
10
12 1213
12
12 12
12
1312 12
9
912
1211
1412
1614 12
111413
1614 13
111413
1614
1414
13
12 12
1314
14 1413 16
11 11
16 1314
397
61
1214
13
12 16
139
12 1215
14
12 17
14
1512 12
14
13
12 16
13
1412 12
15
14
12 17
14
1512 12
14
13
12 16
13
1412
14
13
12
12
14 11
64
12
1312
1110
99
1311
119
98
1211
119
97
1211
119 7 11
99
9
911
12 1212
109
109
10
12 1211
99
9
911
12 1212
109
109
10
12
67
3
1211
99
9
911
12 810
89
89
12
99
119
12
1211
1412
1614 12
111412 11
91211
1413 f.b
99 12
9 9f.b
12 99 9
108
9 9
810
9
70
f.b9
9 129 9
f.b
12 99 8
77
9 9
77
8 65
55 5
55
6 44
45 5
44
47
67
9 97
67
97
8 9 9 87
9
73
f
76
9 9 9 96
7 87
8 9 9
cresc
87
8 76
9 9 9 96
7 87
8 9 9 87
8
0
769
0
769
76
9 9 99
9 67
69 9 9 9
9
9 6
1211
9
398
Caprice II: technical break down, notes and overview
Sweep-picking Alternate-picking Finger-picking techniques
Bar Numbers
Adjacent string motion and alternate-picking combination
String- skipping double and quadruple-stops
String- skipping and adjacent string motion
Finger-picking
Chicken- picking
Double- handed finger-tapping
1-50 24 B1 15 1-14, 16-23, 24 B2-B6, 29-50
24-28 24-28 24-28
51-84 54 SH, 55-57, 73 FH
84 51-53, 54 FH, 58-72, 73 SH, 74-83
Ossia 24-28 24-28
Technical overview
The starting position of ‘Caprice II’ is heavily influenced by the stretches that arise
during the piece. With smaller stretches comes greater control of the general tone of the
string; much of the fingering throughout the caprice, therefore, revolves around the
starting position.
399
A strict alternate-picking approach has been adopted throughout the piece with the pedal
note below or above the melody line determining whether a passage will start with a ΠV
or an VΠ. However, it is necessary to reverse the picking strokes on a number of
occasions in order to optimize the motion so that the plectrum moves towards the next
note wherever possible.
1. Bar 24 the ossia staff shows nylon string finger picking starting with two
hammer-ons. These hammer-ons allow time for the plectrum to be placed
between the first and second knuckle of the second finger. The plectrum stroke
in brackets on the first note of bar 24 can be played if desired (this is dependent
on how fast an individual can place the plectrum between the first and second
knuckle) instead of the hammer-on.
2. At the beginning of bar 24, the picking is reversed by using two sweep-picked
Πs; this method of stroke reversal occurs on a number of occasions.
3. Reversing the picking stroke is seen again after the repeats at the end of bar 34.
On the first pass, picking is strictly alternate as indicated by plectrum strokes
immediately above the notes. However, the plectrum strokes on the second pass
are notated in brackets with the reversal occurring in preparation for the pedal
note below the melody in bar 35.
4. The plectrum motion in bars 54-57 changes for the descending diminished
arpeggios from alternate-picking to sweep-picking.
5. For the correct picking orientation to occur in these arpeggios, the last note of
beat one in bar 54 and the first note of beat two are both sweep-picked Vs.
400
401
6. The first half of bar 73 is a sweep-picked arpeggio which allows alternating
plectrum motion to be maintained until the end of the piece.
Double-handed arrangement
The guiding principle in the double-handed arrangement is that the right-hand executes
the larger chord double-stop stretches, whilst the left hand stays closer to the headstock.
Technical summary
With some minor exceptions, ‘Caprice II’ has been arranged to utilize string-skipping
alternate-picking. A large proportion of the caprice is based around a pedal note either
below or above the melody. When the pedal note is above the melody, the optimal
picking motion is ΠV and when the pedal note appears below, the VΠ pattern is utilized.
The technique used throughout the caprice to reverse the plectrum motion is two sweep-
picked notes in the same direction.
Moderato
II
dolce
BEADGBE
9
12 11 12 10 12 8 1211
129
12
12
12
11
12
9
12
8
12
9
12
12
12
11
11 8 1111
119
117
11
11
11
9
11
8
11
9
11
11
117
119
11
5
12
12
9
12
12
12
10
12
9
12
12
12
10
10
9
10
7
10
10
10
9
10
10
10
9
10
9
10
10
10
9
10
8
10
9
10
8
10
7
10
6
10
9
10
10
10
8
10
9
9
9
8
9
5
9
9
9
9
9
9
9
10
12
9
10
12
14
10
12
9
12
8
12
9
1111 11 10
99
11
12
12
8
9
9
10
10
12
10
14
10
12
10
11
10
10
13
9
11
9
11
10
10
9
11
9
11
10
10
9
11
9
11
9
9
9
14
9
14
10
11
9
1112
14 1314 1214 1014111414
1412
14
12
14
10
14
9
14
12
14
10
14
18
14
14 13 14 12 1413
1414
1412
1411
14
10
14
14
14
14
1514
1513
15
12
14
12
14
10
14 1214
1212
10
12
12
12
9
12
11
1214
1511
15
12
14
402
22
2
Finger-picking
h
1
h 13
T
31
TTT
31
T
31
T
31
T
31
T
1
2T
3
1T
3
1T
2
1 T3
1 T
12 16
Chicken-picking 2
4
P
42
P
4
2
P
42
P
42
P
4
2P
2
3P
4
2P
4
2P
3
2 P4
2 P
1211
1112
11 14
14
14
10
14
12
14
14
1414
1414
12
12
12
14
12
10
12
12
1212
11 14
14
013
13
014
14
012
12
011
10
09
9
70
1112
12
1212
9
9
120
11
1212
12
12
26
2
F.P1
2
T
13
T
13
T
13
T
13
T
13
T
1
3
T
1
2T
1
3T
1
3T
2
1 T 1
3T
2
1 T 1
3
T
1
3
T
1
3
T
1
3
T
1
3
T
C.P
2
3
P
24
P
24
P
2
4
P
24
P
24
P
24
P
2
3P
2
4P
2
4P
3
2 P 2
4P
2
2 P
2
4
P
2
4
P
2
4
P
2
4
P
2
4
P
011
014
14
013
13
014
14
012
12
011
10
09
9
12 011
12
12
1212
9
9
120
11
1212
12
120
110 16
17
0 14
15
0 12
14
0 14
15
0 16
17
15
17
19
17
19
19
19
15
19
19
22
16
22
403
30
17
21
19
22
21
24
22
26
19
22
20
19
19
17
17
14
15
14
17
20
20
17
14
17
01919
01817
01615
01414
01212
01110 12
10
8
1414
8
1212
8
1110
01412
0119
0
34
3
2
12
9 10
1112
9 10
1211 91211 9
7 6 7
7
7
11
7
10
7
9
7
8
7
7
7
9
7
8
7
7
7
11
7
9
12 11 12
7
12
8
12
9
12
10
12
38
2
11
12
12
12
9
12
12
12
10
12
9
1212
12 11 12
12
12
16
12
15
12
14
12
13
12
16
12
14
12
13
12
12
12
16
12
14
17 16 17
12
17
13
17
14
17
15
17
42
16
17
12
17
14
17
12
17
16
17
14
1714
12 11 12
14
12
14
12
13
12
12
12
11
10 9 10
10
10
10
7
10
8
10
9
12
1013
10
12
10
12
10
11
10
10
10
404
46
2
smorzando
9
8 7 8
8
8
8
5
8
6
8
7
6
8 7 8
8
8
10
8
9
8
8
8
12
8
11
8
10
8
9
8
12
8
9
8
6
8 7 8 8 8 7 8 6 8 5 8
50
p
4 88
87
86
87
88
79
7 5 8 6 9 7 10 8 11 9 12 108
119
1210 8 11 9
710
8
53
5
4
119 7 10 8
79
810
9 7 10 86
97
108
11 14 1112
14
13 1011
13
12 910
12
11 89
11
10
56
78
10
9 67
9
8 56
8
7 45
7
6 34
6
6 34
5
6
9
11 10 11
7
11
10
12
9
9
12
15
405
59
2
2
11
12
12
15
9
9
10
12
12
12
13
16 15
14 1314
17
13
1514
12
12
14
11
15
14
17
14
18
14 13
14 13 14
14
14
15
14 13 14
14
1415
14
14
11
12
12
63
12
14 13 14
13
14
14
14 13 14
12
14
10
14 13 14
10
14
12
15
10
14
9
12
12
15
14
17
15
19
14
17
12
15
11
14
9
12 11 14 10 1212
1211
129
12
68
12
12
11
12
9
12
8
12
9
12
12
12
11
11 8 1111
119
117
11
11
11
9
11
8
11
9
11
11
117
119
11
12
128
129 12
11
10
1211
912
72
6
segue
119
13
11912
10912
101212
98
67
68 7
6 9 7 6 9 12 10 9 15 14 1215 14 12 11
121112 14 15 12 14 11 13 10 12 9 11 8
406
76
p
segue
10 7 9 6 8 5 78
77
56 77
6 8 6 74 6 4 6 7 4 6 3 5
74
63
5 7 4 6 3 57
46
35 7 4
80
105 8
58 9
7 9 7
9 8 99
119
12 11 1211
1412
19 18 19
16
19
19
21 20 21
19
21
12
12 11 12
12
12
9
12
9
12
10
12
79
7
7
407
24
Double-handed arrangementbars 24-28
Righthand
Left hand
h h
1211 14
19
10
1318
10
1419
10
1217
10
1115
10
914
7
10
11 7
12
12 7
9
14 7
10
117
12
127
26
R.H
L.H
10
11
5
1419
5
1318
5
1419
5
1217
5
1115
5
914
7
10
11 7
12
12 7
9
97
10
117
12
127
10
11
516
17
514
15
512
14
514
15
516
17
5
408
Caprice III: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Sweep-picking adjacent string motion and string- skipping
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Octaves
1-50 25 B1, 32 28, 34, 39-43, 50
25 B2-B3, 26-27, 29-31, 33, 35, 37-38, 44, 45-49
1-24
51-100 51-54, 57, 67, 71-83, 88-90,92-93
55-56, 58-66, 68-70, 84-87, 91, 94-100
101-112 102 101 103-112
Technical overview
‘Caprice III’ is broken into three sections which utilize two distinctive techniques. The
first and last sections employ alternately-picked octaves. Within these two sections,
many of the octaves utilize ΠΠΠs rather than a strict VΠ motion. This serves to control
the tone of the octaves and retain uniformity of sound. An V is used only in the faster
sixteenth-note octave runs where the continuity of string tone can suffer if ΠΠΠs are
used.
409
410
All the octaves share the same shape on the fingerboard being performed by either the
first and third fingers or the first and fourth fingers, depending on individual preference.
The scalic octave patterns are arranged to keep position shifts to a minimum.
Within the presto section, finger-barrés are common when notes on different strings
occupy the same fret. Where possible, sweep-picking accompanies the finger-barrés to
further optimize the plectrum motion.
Technical summary
In each of the three musical sections, variations on alternate-picking and sweep-picking
techniques are used.
Sostenuto III
f
BEADGBE
7
9
9
11
10
12
7
910
12
12
14
14
16
10
12 10
13
9
12
12
14
10
12
9
11
12
14
11
13
13
15
12
14
10
12 15
17
14
16
12
14
10
12
9
11
12
14
10
12
8
10
7
9
10
12
8
109
12
7
7
10
5
8
9
11
7
9
6
8
10
12
6
89
11
7
9
8
10
11
137
99
12
11
14
12
15
9
1212
15
14
17
16
19
12
15
18
20 17
20
16
19
19
2116
19
17
2017
20
14
17
16
19
17
20
19
22
21
24
14
1712
15
16
19
16
p
pp
33
14
17
9
11
10
12
12
148
10
10
12
12
149
11
11
13
12
14
14
16
15
17
10
12
10
1210
13
9
12
10
13
12
14
13
15
12
1412
15
9
11
7
9 5
8
7
104
7 05
3
5
5
72
4
05
Presto25
1211
99 13 9
f.b f.b13 14
11 1212 14
f.b
1313 16 14 10 13 11
119
1213 14 11 14
13 1211 14
1210 9
8 119
f.b
12 1010 11 8
10
32
f.b
1311 9
1111 12 f.b
13 1113 11 10
14
f.b
12 1313
910 11
11 911 9
13
13 10 1112 13
139
1314
1213 11
11
1416
1314 13
12
411
39
1214 11
14 1316 13
16 14
1314 13 11
14 1114 13
16 1316 14
16 15 14
f.b16 17
16 1212
14
f.b15
1414
1413
16
45
16 13
14 11 1214 12
16 15 16 14 15 12 13 10 1113
912 13 10 11
139
10 1114 11 12
14
0
12
14
51
f.b1211
99
89
11 812
11 89
f.b1210
99
79
11 712
11 79 10
13
9
13
12
13
56
10
13
9
13
12
13
1512 11
12 13 10
f.b
8
15 14 15 1212
14
13 12 13 1011
13
12 11 12 89
1114 13 14 10
12
62
1112 1112 10
12f.b
109
99
79
10
9
8
9
7
9
f.b12
1010
108
10
f.b12
10
10
10
8
10f.b8
10 91010
12 9
8 7 8 57 5
8 7 87 4
412
70
11
10 9 10 79 7
911
12
1012
f.b12
1214
12
1415
15
1214
15
910
f.b10
1012
10
1213
75
8
57
8
78
f.b8
810
1211 8 f.b6
5 88
78
f.b7 8
5 66 8 7
75
89
7 55 8 6
8 6 5 86 9 8
7
82
5 87 6
5 8
f.b
11 810
10 11 811 13 12
1210
13 912 109 12 10
11 131211 13 12
1210
13
13 1012
f.b
1112
1313 10
12
89
f.bf.b
1111
1313
14 11
1211
13 99
1112
14 13 14 1214 f.b12
119
99
98 9
11 12 8 10 98 11 9
108
11 810 7
9 7
96
6 97 10
8119 12
119
1112 9 15 12
14 11 14 1212 11 12 10 11
13 14 11 12 9 101213 10 11
1310
1311
1414
1214
413
Sostenuto
103
f
p
6
7
9
9
11
10
12
7
99
11
12
14
10
12
7
9 9
12
11
14
12
15
14
17
12
14 17
20
16
19
19
22
17
20
19
22
15
189
1207 0
5 07
7
0
1217
414
Caprice IV: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Thirds, octaves and triple-stops
Double- handed finger-tapping
Bars 1-50 1, 4-5, 21.22 FH, 23 FH
2-20, 22 SH, 23 SH, 24-50
12-16, 50-51
51-100 78 51-77, 79-100 51-54, 64-77, 84-97
101-124 101-124 116-124
Technical overview
‘Caprice IV’ utilizes many variations on alternate-picking and sweep-picking, which are
influenced by the multi-stopped nature of the piece.
1. Bar 21 utilizes sweep-picking double-stops to sweep-picked single notes. The
picking is organized in such a way so as to make the string-skipping easier. The
motif occurs in groups of three; the first two notes sweeping in an upward
direction with the third changing the direction of the pick and moving it towards
the next group of three notes.
415
416
Double-handed arrangement
Throughout the double-handed arrangements, both the right and left hands swap between
single notes and double-stops. The deciding factors when assigning a note or notes to a
certain hand are duration, stretch, position shifts and voice exchange. In ‘Caprice IV’,
however, the majority of the fingering is dictated by the notes’ durations and their
physical stretch. For example, in bars 67 and 68 the accompaniment is exclusively in the
left hand whilst the melody is in the right. In bar 74, however, the double-stopped
sixteenth notes are played with the right hand while the left hand plays the descending
notes. As the stretch increases, it becomes increasingly difficult for the left hand to tap
out the double-stopped notes.
Technical summary
‘Caprice IV’ can be reduced to one technique, alternately-picked multiple stops, with
occasional sweep-picking to facilitate optimal plectrum motion.
Maestoso
Caprice IV
p
f
p
BEADGBE
3
5 55
5 7108
108
57
108 7
688
88
76
108
97
108
397
8
10
9
11
8
10
5 55
5 7
6
f
108
108
57
108 7
688
88
76
108
97
108
97
8
10
9
11
8
10
9
11
9
1110
13
8
11
6
9
10
12
10
12
8
10
9
11
8
10
9
9
9
9
812 10
9
9
12
8
1010
10
9
8
109
813 12
11
1012
1014
1312 13 12
11
1012
911
13 910
11
8
10
8
7 5 7 8
8
57
8
55
8
5
17
86
108
1110 8
6109
1210 9
7108
1210 8
8109
12
12
10
13
11
10
11
12
13
13
15
15
16
17
19
19
20
21
22
22
23
1615
1311
1210
1311
1513 11
101311
1514 12
101412
1513 12
101312
1513
417
20
1
12
12
8
14
15
10
11
12
13
13
15
15
16
17
19
19
20
21
22
1513
1210 8
6
9 8
86
9 8
66
9 8
66
9 8
911
12 10
911
12 10 1313
109
1010
1110
13
11
9
8
23
911
12 10
911
12 1013
13
10
10
12
10
13
10
1112
1311
1110
1413
1515 15
13
1716
1515
1315
1312
1311
1315
1312
1311
1211
12
11
10
10
13
13
12
11
10
10
13
12
12
10
8
8
13
10
1112
1311
26
1110
1210
1312 12
10
1513
1312
1112
119
118
1112
119
118
108
1013
13
12
11
10
10
8
13
12
11
12
10
8 1713
1515
1715
1311
1110
13 13 13 13
1110
1311
1513
29
658
12 12 12 12
131112
111013
131112
131112
111013
131112
1614
1614
1513
1311
418
32
h h h
f
12 13 15
111013
1211
11
1110
11
1211
11
1110
11
1211
11
1110
11
1211
11
1110
11
1211
1312
1513 12
111313
1515 13
111513
1615
1513
1311
1515
1313
1211
1513
1312
35
dim
1013
13 1112
14 1013
13 1112
14 1013
13 1112
14 1013
13 1112
1415
13 1312 12
10
1513
1312 12
101513
1312
1210
1513
1312
1110
1513
1311
1110
1513
37
p
cresc
811 6 7
5
9 811 6 7
5
9 811 6 7
5
9 811 6 7
5
9 811
11 1210
9 811
1197
6 58
8 97
6 58
8 119
8
39
molto cresc
710
10 119
137
1010 14
1010 8
1111
97
6 58
9 118
9 68 5
78 5
88
7
98
8
1210 10
8108 8
787
1110
1110 10
8
41
f
h h
11
13
15
17
18
15
16
13
15
16
17
15
15
13
13
16
17
13
13
15
15
16
17
13
15
15
16
17
18
13
15
68
9 11
12
118
11
1212
11
1313
11
1110
10
1211
10
98
8
109
8
76
6
419
44
dim
p
88
6
108
976 8
97
8
108
8
1210
10
1311
10
10
10 866 5
55 8
9
812 7
7 555
888
6
7
6 555
8
46
cresc
f
86
108 6
5
108
86
65
108
86
65
13
13
10
10
12
11
8
9
11
10
13
12
910
8
6 10
11
11
13
8
10
10
11
12
13
13
15
15
16
17
18
15
16
13
15
12
13
10
11
8
10
11
13
10
11
48
911 8
6 66
6
5108 8
9 98
1311
1312
14
13
15
11
12
12
13
9
10
10
11
12
14
13
15
10
12
11
13
9
10
10
11
7
8
8
9108 14
1110
11
87
8
108
10
50
h h
68
79 11
8
711
8
6
8
6
9
6
6
6
812 11 10
10
8
10 9 8
68
8 711
14 13
68
912
10
910
8
6
58
8
6
68
10
8
420
55
p
8
67 6 4
876 5 5 5
11 76 5 5 5
45
36
7 6 4
59
f
67 7
9 9 8 69
86 6 5
867
49
84
6 6 58
9
910
8 811 10
9
9
64
9
8
6
9
8
6 68 6
58
5
8 6 5 688
108
108
108
6
9 8 698
6
8
6
8
6
911
119 9
13 11
911
68
811
11
811
9 913 11
12
11
119 9
13 11
810
10
8
10
9
11
7
9
12
118
10
5
7
6
8
8
10
9
11
7
9
8
10
5
7
11
13 16
15
16
15
16
15
14 13 12
421
72
810
1010
13
11
14
9
12
10
13
7
10
8
11
5
8
11
14
9
12
10
13
7
10
8
11
11
11
11
11
11
11
9 8 7
74
9 8 7810
10
11
11
11
11
11
11
810
10
10
9
9 7 6
11
8
9 7
8 8
7
7 68
9
6
7 6
9
1111 8
9
77
h h
p
9
8
68
5
9
6
5
4 44
4 697
97
46
97
119
80
76
76
66
56
58
66
119
66 8
119
119
1113 11
91311
422
83
f
1413
1413
13 12 9 79
8
1379
8
119
11
99
9
79
856
6
46 9
13 11
11
9
86
6
5
569
56
9
7
811 9 9
9
57
65
6
46
7
79
87
8
68
9
9
79
10
6
47
7
89
cresc
1214
13 13
1214
1215 13
11
9
9 9
11
9
1215 13
10
9
9 9
10
9
9
10
9
9
10
9
9
10
9
8 8
15
14
1317 15
8
5
6
8
58
6
68 7
6
5
94
9
6
710
9
9
812 10
8
109
9
9
9
910
9
9
812 10
8
109
9
910
812 10
8
108
11
14
11
15
11
14
12
15
8
11
9
12
10
12
89
9
99
f
98
8
87
8
98
8
87
8
98
8
87
8
98
8
87
8
98
109 7
698
1010
1212 10
81210
1312
1210
108
1212
1010
98
76
109
912
12 1011
13 912
12 1011
13 912
12 1011
13 912
12 1011
13
423
102
dim
p
9
8
97 5
576
98
1010 8
7108
1210
108
87
1010
98
76
55
97
710
10 119
8 710
10 119
8 710
10 119
8 710
10 119
8
104
cresc
710
10 119
8 710
10 1311
10 912
12 1311
10 912
12 1513
126
54
108
7 6
54 8
54
7
65 8
75 4
88 10
88
106
molto cresc
58
9 68
9 78
7
88
8f
8
10
12
9
10
7
8
10
12
8
10
7
8
10
10
8
9
10
10
7
8
8
10
10
12
7
8
9
10
10
12
1110
1413
1413 13
111311
1614
1614
1917
108
h h
dim
8
5
10129
12 5
8
99
8
1010
8
87
7
98
7
65
5
76
5
97
855
3
75
6
97
6
64
5
75
5
97
7
108
7
7
7 5
111
p
cresc
78
12 76 10
610 9
99
11 76
10 55 8
9
811 7
610
108 7
587
75
108
87
75
9
8
8
815
15
12
12
9
8
10
10
8
7
10
9
8
8
424
113
87 15
17
17
18
19
20
15
17
17
19
19
20
21
22
22
24
21
22
19
20
17
19
15
17
19
20
17
18
15
17
10
88
7 75 5
61010
1413
14
13
1413
1110
11
87
8
108
10
1210
11
115
h h
8
21
23
22
24
20
21
21
22
18
19
19
20
16
18
22
24
19
21
20
22
18
19
19
20
16
12
13
13
8
97
10 12
12
12
810
9
8
7
5
8 812 11
810
11 1010
14 13
912
119
1012
13 12
109
12
121012
141212
978
1098
9
810
8
10
9
88
5
67
87
5
364
6 58
122
10fr
8fr
87
5
364
6 58
87
5
8
57
7
810
9
8
425
12
Double-handed arrangementbars 12-16
Righthand
Lefthand
31010
1014
3108 17 18 17
111517
1013
1717 18 17
111517
911
17 1315 11
8
10
8
12 10 12 13
81012
81010
8
10
50
bars 50-54
R.H h h
L.H
68
1213 15
81213
811
811
91116
16
18 17 16
811
1615 14 13
68
13 1215 14 13
68
13 12
59
10 13
61013 8
611 85
8
64
bars 64-77
R.H
L.H
91316
913
15 1518 16
58
10
8 6 5 688
108
108
108
11
9 8 698
118
118
119
1115
911
14 14 1315
81115
811
14 14 1315
11
1115
14 14 1315
11
11
426
70
R.H
plectrum strokes
plectrum strokes
plectrum strokes
L.H
81014
8
10
9
11
7
9
8
10
5
7
6
8
8
10
9
11
7
9
8
10
5
7
11
131115
1115
1115
81014 10
13
11
14
9
12
9 8 7
10
13
7
10
8
11
5
8
14
11
11
8
11
10
13
7
10
8
11
1115
1115
1115
9 8 7
74
R.H
h h
L.H
9 8 781014
1115
1115
1115
81014
59
13 11 10
68
13 11
811
13
16 15 13
91116 15
9
1516 13
91316 13 15
911159
84
bars 84-97
R.Hf
L.H
f
79
13
79
13
119
16
99
14
79
131011
69
11
69
14 1311
11
10
10
69
1011
912
131614 14
14
57
11 14
69
1111
79
13 16
81113 18
91214 19
69
11 16
69
13 1216 1512
10
9
427
90
R.H
L.H
69
13 13
69
12 1112
59
13 13
59
13
59
13
59
13
59
12 12
58
13 12 10
81015
81013
6
15 13 12
610
94
R.H
L.H
46
12 10
49
13 12 10
3109
49
49
10
49
13 12 10
3109
49
10 13 12 10
3108
49
116
bars 116-124
R.H
h h
L.H
31412
10 127
12
8101317
79
17 17 16 15
81015
912
1315 14 13
1012
1316
1513
8
1715
8
1817
8
428
120
R.H
L.H
1312
8
1513
8
91314
8
1014
1312
1015 12
86
10
8
613 11 10
13 86
10
8118
11 1013 8
610
8
101215
8101317
429
Caprice V: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Bars 1-50 1-2, 6-7, 13-17- 20, 23-28, 33-36, 38, 40-50
3, 4-5, 8-12, 21-22, 29-32, 37, 39
51-62 51-56, 58, 61-62 57, 59-60, 63
Ossia 11-12, 13 B1-B2, 24-28, 33,34 FH, 40-41
44-50
Technical overview
‘Caprice V’ can be broken down into two technical areas; the introduction and
conclusion, and the middle section. The approach taken in the introduction and
conclusion is almost identical in technique even though modulation has occured. The
ascending arpeggios require a combination of sweep-picking and alternate-picking with
alternate-picking used in the scalic portion. As every consecutive ascending arpeggio
increases in range, the scalic segment increases in length, making it necessary to shift
position in order to accommodate all the notes. When these linear shifts are made
gradually they are less audible and less abrupt. To assist this, the notes have been
430
431
arranged in a four-notes-per-string pattern rather than the more common three-notes-per-
string pattern, making a slide possible on the last note. In bar 1, for example, the first
scalic pattern is arranged three-notes-per-string; in the second run, a combination of three
and four-notes-per-string can be seen.
The main body of the caprice, which begins in bar 4, comprises the second technical area.
This is characterized by a combination of alternate-picking and sweep-picking.
1. The ossia staff that appears in bar 11 and 12 offers an alternative picking option
that combines hammer-ons with sweep-picking. The use of hammer-ons changes
the tone quality of the notes considerably due to the lack of pick attack. However,
in this case beat two of bar 13 sees the start of two bars of sweep-picking with the
ossia staff functioning as a timbral bridge between the aggressive alternate-
picking that occurs in bar 8 (the introduction of the theme an octave higher) and
the sweep-picking in bar 13.
2. Bars 24 to 28 and 33 to 34 offer an alternative plectrum idea in the ossia staff
with groupings of two as opposed to single stroke alternation.
3. The ossia staff of bars 40 and 41 offers a contrasting alternately-picked approach
from the sweep-picked main staff.
Technical summary
'Caprice V’ has an even distribution of two different techniques; the first alternate-
picking and sweep-picking combinations, the second straight alternate-picking.
V
BEADGBE
108
7 1210
9 1413
12 17 15 13 1215 13 12
14 13 1014 12 10
14 12 1113 12 10
13 12 108
7 1210
9 1413
12 17 20 19 17 1618 17 15
17 16 14 1315 14 12 10
14 12 1113 12 10
13 12
2
108
71210
9 1413
12 17 20 24 22 20 1922 21 18
21 19 1721 19 1815
1917151417 161312
1513 12 108
7 1210
9 1413
12 17 20 24 29 27 25 24 2225 24 22 21
22 21 1922 21 19 18
201917201917 16
18171513 12
3
10 11 12 139 10 1112
8 9 10 117 8 9 10
6 7 8 96 7 8 9
59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 9
13 12 11 10
7
5
5
Agitato 4
simile
5 87
8 75 7 5
8
7 58 7 5
8 7 5 87
8 75 7 5
8
7 58 7 5
8 7 5 97
9 55 8 5
87
87
f.b8
87
8
7
4 78 5
8 5
76 7
64
54 7 10 12
12 1514
15 1412 14 12
15
14 12 1014 12 10
14 12 1514
15 1412 14 12
15
14 1215 14 12
15 14
432
10
1
h
h
h
h
h
h
12 1614
16
14 1215 14 11 12
16 14 1215 14 12
15 14 1215 14 15
1213 12 15
1512 10 13
1410 8 12
128 7 10
107 5 8
85 4 8
84
13
h
3 78
7
f.b
87
55
108
97
1210
109
f.b13
1210
10
14
1315
17 15
1719
20 15
1517
1915
17 16 1417 15 14
15f.b
1516 14 12
16 14 1314
16
f.b
1414 12 10
14 12 1112
f.b
1212 10 9
f.b
12 10 910
1010 9 7
10 9 710 9
75 8 f.b
f.b
88
910
1012
13 8 f.b
78
79
1010
12 8
75 8
7
19
8
8 7 6 59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 f.b8
77 5
7
58 5
f.b
87
88 7
58 5
f.b
87
88 7
58 5
22 1.
1.
2.
2.
2
87 5
8 78 5
7 5 8 7 5 45
7 4 8
57
8 6
57
6
f.b5
88
10
f.b
8
76
8
f.b
10
1010
12 10
911
10f.b
812
1213 12
1110
12
10
20 1517 15
19 1615 13
17 1213 12
16 1012
433
25
f.b13
1212
13 11
1012
11 f.b10
88
10 812
1113
f.b10
1515
17 15
1416
15f.b
13
1212
13 12
1110
12f.b
13
1212
13 11
1012
11f.b
10
88
10 8
76
8
1317 12
13 1115 12
11 1013 8
10 812 6
8 10
20 1517 15
19 1615 13
17 1213 12
16 1012 13
17 1213 11
15 1211 10
13 810 8
12 68
28
f.b10
1111
12f.b
10
1012
12f.b
8
88
8 7
76
710
8 7 6 59 8 7 6
9 8 7 610 9 8
15
20 1517 15
19 1617 13
17 1213 12
16 1012
30
711 10 9 8
12 11 10 8 1111 10
12
1013 10
13
13 12 11 10 913 12 11 10 9
13 12 11 1014
32
2
13 12 11 1014 13 12 11 9 13
13 118
1114 11
f.b9
1111
13 10
911
13 f.b11
1313
14 12
1113
15
916 11
13 1014 11
13 11
13 89 7
11 810
434
34
f.b13
1010
11 913
1514 f.b11
10 710
10
910
15
46
56
7 86
8 69 8
11
12 1311
13
815 10
11 913 10
9
36
11 1013 11 f.b
12 1312
1313
13 1011 10 11 9
11 98 11 8
119 11 9 8
11 1013 11 9
13 11
38
98 11 8
911
911
f.b10
119
1111
98
911
10 13 1013
11 13 11 1013 12 10
13 11 1013
40
1110
810
1113
1113
f.b12
1311
1313
1110
1114
1315
14 13
1011
13 11
1012
11 9
1113
13
65 8 5
68 11 8
78 11 8
86 10 6
913 10
9 8
10 68 6
10 76 4
11 88
435
42
4
56
8 47 4
6 f.b7 119
9 f.b87
7 11
f.b6
68 5
6 46 3 f.b4 7
66 f.b4
44 7
44
1211
911
1412
912
f.b11
99
912
109
10
f.b13
1111
1114
1311
13
f.b15
1313
1316
1415
14
1211 14 11
1412 14 12
1614 19 14 12
10 1415 13
11 16 1114
13 16 1315
13 18 1316
14 20 14
46
1311
1211
1413
1213
1412
1112
1311
1211
1210
910
119
109
108
78
97
87
1311 16 11
1413 16 13
1412 15 12
1311 16 11
1210 13 10
119 14 9
108 11 8
97 12 7
48
86
56
75
65
75
45
64
54
53
23
42
32
32
32
32
42
86 9 6
75 10 5
75 8 5
64 9 4
53 6 3
42 7 2
32 7 2
32 8 2
436
50
f.b12
119
99
7 12 16
f.b
1010
1010
1010
1110
f.b9
97 12 16 19 24 28
1413
1213 12 15
1215 13
17 15 1317 15 13
16 1413
1213 12 15
1215
53
1317 15 13
17 15 1414 f.b
1515 13 12
15 13 1212
1313 12 10
f.b
13 12 1010 f.b
1212 10 8
f.b
12 10 99
55
1010 8 7
10 8 69 8
8 57
8 57
6f.b
f.b
8 55
57
78 5
7 4
7 46
57 4
57
10
14 13 12 11 10 913 12 11 10 9
13 12 11 10 9 8 7 610 9 8 7
10 1313 12
912 10
12
59
10 13 1210
1312
9 12 10 13 1210
1312
9 12 10 13 1210
1312
9 12 10 13 1210
1312
9 12
437
61
108
7 1210
9 1413
12 17 15 13 1215 13 12
14 13 1014 12 10
14 12 1113 12 10
13 12 108
7 1210
9 1413
12 17 20 19 17 1618 17 15
17 16 14 1315 14 12 10
14 12 1113 12 10
13 12
62
108
71210
9 1413
12 17 20 24 22 20 1922 21 18
21 19 1721 191815
1917151417161312
15 13 12 108
7 1210
9 1413
12 17 20 24 29 27 25 24 2225 24 22 21
22 21 1922 21 1918
20191720191716
181715 13 12
63
10 11 12 139 10 11 12
8 9 10 117 8 9 10
6 7 8 96 7 8 9
59 8 7 6
9 8 7 610 9 8 7
11 10 9 812 11 10 9
13 12 11 10
7
5
5
438
Caprice VI: technical break down, notes and overview
Bar numbers
Single-finger finger-tapping
Hammer-ons and pull-offs
Double-handed finger-tapping
1-52 1-22, 23-37, 38 SH, 39-52
23,38 FH
1-52
Technical overview
‘Caprice VI’ is the only caprice that can be played almost entirely utilizing one specific
technique whilst retaining its original legato feel. By utilizing single-finger finger-
tapping in conjunction with hammer-ons and pull-offs it is possible to achieve a similar
tone quality to that of the original.
The transcription is arranged to take advantage of single-finger finger-tapping. The
arrangement used is illustrated in bar one, with the left hand tapping out and holding
down the first two-note chord (G and D), using the first finger of the right hand to
hammer-on the B note and pull-off back to the G. Unlike the double-handed
arrangement, where the hands function independently of each other, the success of this
technique requires interdependency between the hands.
439
The only exception to the single finger-tapping occurs in bars 23 and 38 where a single
note is held down by the tapping finger and hammer-ons and pull-offs in the left hand
create the tremolo. This is employed to avoid the unusable fingering that arises if single
finger-tapping is strictly adhered to.
Double-handed arrangement
This caprice can be divided into two individual parts, the melody and the
accompaniment. Not bound by traditional guitar technique, it is possible to assign the
melody to one hand and the accompaniment to the other. With a few minor exceptions
(illustrated in point 1) the accompaniment is played with the right hand and the melody
with the left, which not only provides an easier memorization tool but also helps preserve
the continuity of the melody.
The accompaniment can be divided into two distinctive techniques. First, a hammer-on
and pull-off that occurs when two notes are played as a tremolo on the same string,
secondly, two hammer-ons that occur when the tremolo notes appear on different strings.
The majority of the tremolos take place between different strings although, when
necessary, the two notes can occupy the same string through a slight alteration of
technique.
Although there is no timbral preference between the two methods, a tremolo between two
strings has a less legato feel due to the difference in the physical playing action.
440
441
1. As stated, most of the tremolos have been assigned to the right hand. However,
there are places where it is necessary to reverse the role of the two hands. This
reversal occurs when the melody and harmony occupy the same area on the
fingerboard, or the two hands are in very close physical proximity to each other.
Examples of this can be seen in bars 10, 17-18, 37 and, 47.
2. Tremolos can be more difficult to play between strings that occupy the same fret.
The end of bar 1 illustrates how to avoid a tremolo between two strings on the
same fret by using a combination of hammer-ons and pull-offs and a wide stretch
in the right hand (also see bar 27).
3. Bar 8 sees the left-hand notes appearing first between the two trilled strings and
then below them. Avoiding accidentally striking one of the trilled strings is the
key to performing this passage successfully.
Technical summary
The one finger finger-tapping technique is used almost entirely throughout the piece.
(Adagio) VI
ph
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442
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443
28
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444
41
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43
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morendo
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445
1 Adagio
Double-handed arrangementbars 1-52
p
Righthand
2
12 12 12 12 12 12
p
Lefthand
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2
simile e sempre legato
R.H.
L.H.
7
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R.H.
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446
7
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447
16
f
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448
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R.H. f
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449
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R.H. f
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R.H. 1
L.H. smorzando
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R.H.
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450
43
R.H. L.H.
6
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R.H. 1
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R.H.
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R.H. morendo
pp
L.H. pp
5
86
86
5
86
86
5
86
86
5
87
87
5
87
87
87
5
87
451
Caprice VII: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Octaves, thirds, triple-stops and quadruple-stops
Double-handed finger-tapping
Bars 1-50 22-24, 28, 48 FH 17 SH, 18, 19 SH, 20, 21 SH, 34, 49 FH, 50 FH
1-16, 17 FH, 19 FH, 21 FH, 25-27, 29-30, 35-47, 48 SH, 49 SH, 50 SH
16, 25-50
51-77 51 SH, 52 SH, 53-56, 58 SH, 66 SH, 67-69
57 FH, 59 FH, 62-65, 70 SH, 71 SH, 73, 76
51 FH, 52 FH, 57 SH, 58 FH, 59 SH, 60-61, 66 FH, 70 FH, 71 FH, 74-75, 77
51-52, 57-77
Technical overview
‘Caprice VII’ can be broken down into two technical areas. The first, from bars 1 to 16
relies heavily on ΠΠVs. The second, from bar 17 to the end, is a combination of sweep-
picking, ΠΠVs and multi-stopped notes and alternately-picked single note scalic melody.
452
453
1. The plectrum pattern ΠΠV is predominant in the theme. However, for ease of
picking it is often modified to ΠVΠs.
Double-handed arrangement
1. Up to bar 35 the right hand has played the top notes of each passage. However, at
this point, the two hands swap roles with the right hand playing double-stopped
chords allowing the left hand to play the inverted pedal. The voice exchange
continues throughout the modulatory section until the beginning of bar 48.
2. The arrangement of right-handed arpeggios in bars 47-51 has been made in order
to preclude finger-barrés. The reason for this is that the speed required to move
the same finger from one fret to another is less than using two different fingers.
As the frets are closer together higher up the neck, rearranging the notes to make
use of this can be advantageous as in this case. The disadvantage, however, is
that different fingering patterns need to be learnt for the arpeggios.
Technical summary
Within ‘Caprice VII’, much use has been made of ΠΠΠs and ΠΠVs in order to enhance
the characteristic patterns of the theme. Alternate-picking in combination with different
variations remains the predominant technical feature.
VII
f
p
pp
BEADGBE
12
14
12
1415
17
14
16
12
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11
13
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16
12
14
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22
21
24
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27
14
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24 20 27 24
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15 14 1215 14 12
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15 17 1915 17 19
17 18 2017
454
23
10
12 10 912 11 8
12 10 812 10
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8
10 9 710 9 7
10 8 710 8
10 12 1310 12 14
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25
f
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455
35
simile
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121012
131212
151312
131213
121114
141214
1199
12109
151314
131215
151315
121010
131110
119
10
141316
119
11
131111
141211
121011
39
109
12
121012
141212
151312
131112
111013
1615
15
111013
1415
13
1415
14
1315
14
1316
15
18
18
17
18
16
17
1316
15
17
16
15
17
15
15
1315
13
10
913
1113
11
13
11
11
14
11
10
12
11
10
44
1114
11
1114
10
1114
13
1213
13
1213
11
11
9
11
11
9
10
11
9
8
1213
12
1113
12
11
9
8
11
9
9
11
911
1211
9
11
911
12
9
9
811
9
98
11
1413
1111 12
11 13111413 11
14 131111
119
11
141316
49
119 13
12 1313
913 11 9
13 11151313
131113
111013
1211 14
13 1414
1114 13 11
14 12161414
141214
121114
51
151414
141214
121014
10 1314
1212 10
1214 15 10
12 8
141212
121012
109
12
119
98
12 1011
139
910
12
456
53
8 1210
109
88
89
1010
1212
12 1514
1412
1212
1414
15 1211
9 1210 13
11 14 1113 10
12 910
8 119 12
10 13 1012 9
11 8
55
97 10
8 119 12 9
11 810 7
9 108 12
1210
910
810
910
12
810
1010
12 8 1212
1211
1212
119
912 9
10 9
1012
14 13
57
10 9 710 9 7
11 8 710 8 7
1312
14
1212
12
1012
10
16
15
14
1311
1011
912
119
912 9
10 9
1012
14 13
59
p
pp
10 9 710 9 7
11 8 710 8 7
1312
14
1212
12
1012
10
16
15
14
1311
1011
912
1013
1011
912
12
10
1213
11
91013
1011
62
f
912
11 9 710 9 7
109
1012 9
1212
161214
161914
1819
211822
2126 22
2426
29
14
16
11
13
10
12
9
11
8
10
7
911 9 7
11 9 710 9 7
10
457
65
97
912 7
1112
14 1114
1418 14
1618
21 1621
2124 21
2424
28
14
16
11
13
10
12
9
11
8
10
7
912 11 9
12 11 912 10 9
12
67
10
12 11 912 11 9
12 10 912 10
129 11 12
10 12 1410 12 14
914 12 11
14 13 1014 12 10
14 12
14 16 1714 16 18
15 16 1815
69
712 11 9
12 11 912 10 9
12 10
129 10 12
9 11 1310 12 13
121010
101012
1315
14
17
15
1517 15 13
15 14 1215 14 12
15
71
121010
101012
1315
14
17
15
1517 15 13
15 1412151412
15 121010
101012
1315
14
16
15
17
16
15
16
16
15
14
1214
1314 1618
14 16 1815 17 19
16
1416
14161819
16 18 2018 19 21
17
74
1012
11
1412
14
16
15
14
12
1114
17
17
16
1214
13
12
16
17
16
19
18
21
19
22
21
24
13
1213
141213
12
16 14 1316 14 12
16 14 1216 14 12
15 14 12 1012
11
10
458
16
Double-handed arrangement
Righthand
bar 16
Left hand
8101417
1014
1115
8101417
1014
1115
25
bars 25-52
R.H.
f
f
L.H.
f
f
911
911
911
15 17 18
81116
13 15 1713 15 16
13 14 15 16
911
911
911
15 17 18
81116
13 15 1713 15 16
13 14 15 16
27
R.H.
L.H.
911
911
911
15 17 18
914
914
914
15 17 18
81317
1619 17 15
19 17 1519 17 15
101215
17 16 1417 15 14
17 15 1417
459
29
R.H.
L.H.
88
2258
15
91317
81215
81317
81014
8
10
13
12
15
14
1710
13
12
15
31
R.H.
L.H.
91314
1513
9
8
16 14 1215 14 12 10 9 7
10 8 7 10 810 8
710
33
R.H. 1
L.H.
11
1011
121011
10
18 15 1417 15 14
17 16 1317 15 13 17 15 12
1513
7
1715
7
1312
7
1513
7
1312
8
460
35
R.H.
simile
L.H.
simile
1211
9
1412
9
1614
9
1715
9
1513
9
1312
10
1513
10
1715
10
1816
10
1816
10
1614
10
1413
11
1614
11
1816
11
1917
11
1715
11
38
R.H.
L.H.
1514
8
1715
8
1917
8
1513
8
1816
8
1615
9
1615
11
1615
9
1415
9
1415
10
1315
10
1316
11
1318
13
1316
13
1316
11
41
R.H.
L.H.
1216
11
1215
11
1315
9
1014
9
1113
7
811
7
911
6
711
6
461
43
R.H.
L.H.
1114
7
1114
6
1114
4
1213
4
1213
6
1114
7
1114
6
1114
4
1213
7
1113
7
69
13
69
14
69
11
769
69
11
1214
9
1316
9
1413
7
47
R.H.
2
L.H.
1413
11 1512
11 13 1114 13 11
14 1311
7
119
7
98
7
119
8 12 13 8 913 11 9
13 111513
8
1311
8
1110
8
49
R.H.
L.H.
1211
9 139
9 11 913 11 9
121614
4
1412
4
1211
4
1514
4
1412
4
1210
4
108
97 12 10
1214 15 10
12 8
462
51
R.H.
L.H.
1412
8
1210
8
109
8
119 14
13
12 1011
13 14 910
12
57
bars 57-77
R.H.
L.H.
15 14 1215 14 12
16 13 1215 13 12 13
1219
121217
101215 6
1014
86
56
47 11
9 14
1213
15 14
1012
14 13
59
R.H.
pp
L.H. p
15 14 1215 14 12
16 13 1215 13 12 13
12
9
1212
7
1012
5
61014
86
56
47
58
56
47 12
151213
1114
1013
1011
463
70
R.H.
L.H.
1715
6
1515
8
1315
10
1215
11 17 15 1315 14 12
15 14 1215
1715
6
1515
8
1315
10
1215
11 17 15 1315 14 12
15 14 1215
72
R.H.
L.H.
1715
6
1515
8
1315
10
1115
8
1115
7
1115
10
1214
9
14 16 1814 16 18
15 17 1916
1416
10
16 18 1916 18 20
18 19 2117
74
R.H.
L.H.
1012
7
1412
10
1115
10
1216
10
1217
7
1214
9
17
14
17
16
19
18
211522
1724
81213
1412
9
12
16 14 1316 14 12
16 14 1216 14 12
15 14 1257
1114
464
Caprice VIII: technical break down, notes and overview
Alternate-picking Finger- picking
techniques
Bar numbers
Straight alternate-picking
Octaves double stops, triple-stops and quadruple-stops
Finger-tapping in combination with hammer-ons and pull-offs
Finger-picking
Double- handed finger- tapping
Bars 1-50 5-6, 28-31 1-4, 7, 17-27, 32 SH, 33 SH, 34 SH, 35 SH, 36, 39 SH, 40 SH, 41 SH, 42 SH, 43, 45-48, 50
8-16, 32 FH, 33 FH, 34 FH, 35 FH, 37-38, 39 FH, 40 FH, 41 FH, 42 FH, 44, 49
7-16, 32-44, 49-50
51-67 55 52-54, 56-58, 60-67
51, 59 51, 56, 57, 59, 66-67
Ossia 32 SH, 33 SH, 34 SH, 35 SH, 39 SH, 40 SH, 41 SH, 42 SH
Technical overview
465
‘Caprice VIII’ provides a different challenge for transcription owing to its extended two-
part writing. The polarization of melody and accompaniment lends itself particularly
well to a double-handed approach with either the right or left hand dominant. This helps
to a certain extent to retain the legato feel of the original violin version.
The principal transcription makes use of the dexterity of the left hand using hammer-ons
and pull-offs whilst the right hand taps out the pedal note. In contrast, the double-handed
arrangement has been orchestrated to rely more heavily on the right hand.
1. From bar 8 to bar 16 the chromatically descending bass note is played in the right
hand whilst the left hand plays the sixteenth notes. It is important when playing
the descending whole note scale with the right hand this far down the fingerboard
to avoid touching the strings that the left hand is striking with either the forearm
or the fingers. To reduce the aforementioned problem the notes are arranged so
that one string is between the notes being tapped by the right and left hands, the
exception being bar 14 where the scalic element in the left hand moves up to the
string immediately adjacent to that being tapped by the right hand.
2. An alteration to the hand functions occurs in bar 15 with the first double stop
played with a left-hand hammer-on (indicated with a L.H); the rest of the bar is
played with right-hand hammer-ons.
3. Bar 32 introduces a new thematic idea which is best approached by dividing the
bar in half. The first half of the bar employs a similar approach to that used in
bars 8 to 16. However, in this instance, the left hand plays the sustained D flat,
466
467
whilst the right hand plays the sixteenth notes. The second half of the bar is
performed with alternately-picked double-stops with the ossia staff offering a
secondary option. Having the ability to change between the two techniques
quickly is largely dependent on the guitarist's ability to change plectrum positions.
In this case moving the plectrum to between the first and second knuckle joints on
the second finger is preferable. Changing between techniques must be seamless
with the only discerning aural change being that of string tone.
4. From the technical viewpoint bar 59 stands out as a rhythmic motif that appears in
isolation in ‘Caprice VIII’. Unlike bar 32 and its subsequent bars, bar 59 is more
easily executed with both hands functioning independently. The arrangement of
the notes sees both hands retain their autonomy whilst transition into and out of
the bar remains as uncomplicated as possible.
Technical summary
The technical analysis of ‘Caprice VIII’ can be broken into two sections: the first from
bars 1-7, 17-31 and 60-67, which are variations on alternate-picking; the second is a
combination of finger-tapping, hammer-ons and pull-offs.
Maestoso VIII.
ff
BEADGBE
11
13
7
9
8
10
6
8
5
7
9
11
8
10
5
p
p
f
9
13 15 1713 15 17
13 15 1715 16 18
15 16 18
8
18 20 2218 20 22
19 20 2220 21 23
20 22 23
911
10
9
1113
12
11
8
R.H
dolce
h
1
h h p p h h p p h h p p h h p
R.Hh h h p p h h p p h h p p h h p
8
6 8 10 8 6 8 10 8 6 8 10 8 6 8 10 6
7
8 10 11 10 8 10 11 10 8 10 11 10 8 10 11 8
10
R.Hh h h p p h h p p h h p p h h p
R.H hh h p p h h p p h h p p h h p
R.H
h h h p p
h h p
R.H
h
p p h h
p p p
6
10 11 13 11 10 11 13 11 10 11 13 11 10 11 13 10
5
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11 5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8
13
R.H
h h h p p
h h p
R.H
h
h p p h
p h p
R.H h
h h p p h h p h p ph p h p p
L.H
2
h hh h
h h h
h h h h h h h h
5
10 12 13 12
6
10 12 13 10 12 1013 12 13 12 10 8 7
11 13 14 13 11 13 14 13 14 13 1115
10
8
11 13 1511 13 15
12 13 1512 13 15
12 14 15
1214 13 11
468
16
R.H
hh h p p h h p h p p
h p h p p
10
13 15 16 15 13 15 16 15 16 15 1317 14
16 15 13 1215
1519
1014
1317
812
1215
710
1014
58
812
812
1215
610
1013
58
812
68 13 10 8
78 11 10 8
88 12 10 8
87 13 10 7
19
f
65
87
108
1210 8
81010
1211
1413
1515
1413
1211
1110
1211
1110
1211
1110
1413
1211
1110
1211
1010
88
76
108
87
108
119
1210
1210
108
87
75
21
pp
87
65
86
108 6
587
108
1210
1312
1210
108
97
108
97
108
97
1210
108
97
108
87
65
108
86
65
86
97
108
108
86
65
56
23
f
86
65
8
11
9
7
5
8
8
6
7
5
11
8
9
11
28
p
p
21
18 20 22182022
2021 2320 21
16
18202218 20 22
1920222021 23
20 22 23
18
15171815 17 19
17182016 18 20 22 24 2523 25 27 28
469
31
f
L.H
h
3
h h p p h h p
p
Finger-picking1
3
p 12 2
121
21 2
121
21
13
15 17 1915 17 19
16 17 1917 18 20
17 19 20
6
9 11 13 11 9 11 13 11 9
1186
75
86
98
86
119
98
33
f
L.H
h
h h p p h h p
p
f
L.H
h
h h p p h h p
p
F.P 3
1
p
21 1
212 2
1 2
1 12
12
31
p21 2
121 1 2 2
1 21 2
1
9
11 13 15 13 11 13 15 13 11
13108
97
108
1110
108
86
65
4
6 8 9 8 6 8 9 811
8
98
87
98
119
98
86
64
35
f
L.H
h
h h p p h h p
p
F.P31
p
21 2
121
21
21 1
212
11
85 7 5
85 7 5
8
1176
65
76
87
76
108
87 8
776
87
76
87
76
87
66
98
86
98
86
98
86 8
0
8
37
L.H
h
decresc
p h h p
p h ph p h h p p h p
L.H
h p h h p
p h p
L.H
h
p h h p p h p
f
L.H
h h h p p h h p
p
Finger-picking 31 p1
2
12 1
2 12
12
12
12
1114131416
614131413
13111314 101311131113 121314 9131213
1616 1515 17161516
19
9
12 141614121416147
9
119
108
119
1211
119
1412
1211
40
f
L.H
h
h h p p h h pp
f
L.H
h
h h p p h h p
p
f
L.H
h
h h p p h h p
p
F.P 1
3
p12
12
12 1
212
12
12
1
3
p 12
12
12 1
212
12
12 1
3
p
12
12 1
2 12
12
12
12
7
9 111311 9 111311 9
12
1311
1210
1311
1413
1311
1614
1413
7
9 11 1211 9 111211 9
1176
65
76
97
76
119
97
9
11 13 15131113151311
14109
88
109
1110
109
1311
1110
470
43
L.H
h p h h p
h h p
L.H
h p h h p p h p
1110
109
1110
109
1110
109
1110
99
87
66
87
66 7
87
66
8 69
12111214121112115
11 9 11 1211 9 11 9 811 1211 9
1412
1314 12 11
9 10 9 7
1210
1112 10
46
912 1312 10
108
910 8 710 1210 8
86
7 8 6 58108 6
65
5 6 5 36
66
55
9
88 5
68 6
586
108
86
65
65
76
108
87
75
108
87
65
108
86
65
49
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
h p p
L.H
h h h p
L.H
h
p p p
101113 1413
6
10 13 12 11 1011131413
665
86
108
86
65
1412
1513
1311
1110
1413
1211
1010
10 13 11 10
71312
1210
108
1312
8 10 11104
7 10 9 8 78 101110
4
7 10 8 7
52
cresc
f
87
65
108
97
86
65
108
97
86
65 8
675
119
108 8
675
119
108
76
108
87 7
6109
88
76
108
87
65
108
86
65
108
11
8
7
4
471
55
f
pp
L.H
h
h h p p h h p p h h p p h h p
8
5 7 86 8 10 12
8 10 11 13 15 17 19 20
911
10
9
1113
12
114
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
58
cresc
4
f
hh p
h
h p
h
h p
h
h p
right hand
left handh p
h
p
h
p
h
p
5
7 16
19
13
16
58
11 16 11
8 513 18 13
11 8
11 15 11
6 313 17 13
9 6
811
1312 10
91211
1313 11
101311
1513
1615
1513
1311
1210
1311
1210
1311
1210
61
p
1513
1311
1210
1311
1110
1313
1211
109
88
109
1110
1211
1211
109
1312
1210 12
11
1110
1311
151311
101312
151312
101312
1210
1513
1412
1513
1412
1513
1412 12
10
1513
1412
1513
1312
1110
1513
1311
1110
1311
1412
1513
1513
1311
1110
108
64
pp
f
65
68
8
611108
68
7
8
6
8
472
7
Double-handed arrangementbars 7-16
Righthand
f
dolce
Left hand
f
dolce
46
1013
68
1215 8
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11
7
13 15 16 15 13 15 16 15 13 15 16 15 13 15 16 13
10
R.H.
L.H.
6
10 11 13 11 10 11 13 11 10 11 13 11 10 11 13 10
5
11 13 15 13 11 13 15 13 11 13 15 13 11 13 15 11 5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8
13
R.H.
L.H.
5
10 12 13 12
6
10 12 13 10 12 10 812 13 12 10 8 7
11 13 14 13 11 13 14 13 14 13 1115 12
14 13 11
473
15
R.H.
L.H.
58
11 13 1511 13 15
12 13 1512 13
10
1512 14 15
13 15 16 15 13 15 16 15 16 15 1317 14
16 15 13
32
bars 32-44
R.H. p
f
p
L.H.
f
6
9 11 13 11 9 11 13 11 9
6
1311
1210
1311
1413
1311
119
98
9
11 13 15 13 11 13 15 13 11
9
1513
1412
1513
1615
1513
1311
1110
34
R.H.f
p
f
p
L.H.f
f
8
11 13 14 13 11 13 14 13 11
8
1413
1312
1413
1614
1413
1311
119
11
13 15 17 15 13 15 17 15 13
11
1715
1614
1715
1816
1715
1513
1312
474
36
R.H.
decresc
L.H. decresc
1311
1210
1311
1210
1311
1210
1311
1110
1413
1311
1413
1311
1413
111311
14 1314 13 14 16
614 13 14 13
13 11 13 14 13 11 13 11
8
38
R.H.
f
p
L.H. f
1013 12 13 14 913 12 13 11
16 15 16 17 16 15 1619
9
12 14 16 14 12 14 16 147
14
1614
1513
1614
1716
1614
1412
1211
40
R.H.
f
p
f
p
f
p
L.H.f
f
f
7
9 111311 911131114
7
1311
1210
1311
1413
1311
1614
1413
7
9 11 1211 9111211 9
7
1211
1110
1211
1412
1211
1614
1412
9
11 13 15131113151311
9
109
88
109
1110
109
1311
1110
43
R.H.
L.H.
1614
1513
1614
1513
1614
1513
1614
1413
1311
1110
1311
1110 11
1311
1110
136
912 11 12 14 12 11 12 11 9
16 14 16 17 16 14 16 14
475
49bars 49-51
R.H.
L.H.
011 13 14 13
6
10 13 12 11
011 13 14 13
6
1110
1311
1513
1311
1110
1412
1513
1311
1110
1413
1211
1010
1312
1210
108
1312
10 13 11 10
51
R.H. 1
L.H.
213 15 16 15
4
12 15 14 13
213 15 16 15
4
12 15 13 12
56
R.H.f
bar 56-57
pp
bar 59
L.H.
f
9111518
11131720
pp
4
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 911
1111
8 513
1313
68
1110
11
68
9 6
1312
13
476
66
R.H.f
bar 66-67
L.H.f
1110
3
1113
3
811
4
477
Caprice IX: technical break down, notes and overview
Alternate-picking Sweep-picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes
Combination of double-stops, triple-stops and single note
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 1-50 18-38 51-100 58, 62-69,
74, 78-84 50-56, 57, 59-61, 72, 73, 75-77, 98-100
70, 71, 85-97
101-115 101-115
Ossia 18-38 18-38
Technical overview
478
From a technical perspective, ‘Caprice IX’ is divided into two sections, the first of which
is a theme and variation utilizing double and triple-stops and the second consisting
mostly of single-note melody.
The double and triple-stopped theme is built around a repetitive rhythmic figure
consisting of an eighth note followed by two sixteenth notes; this figure continues until
bar 61 with minimal alteration. In the original score the two sixteenth notes are played
on the same bow stroke. The original bowing pattern is best replicated using two Πs
followed by an V.
1. As in ‘Caprice XIX’ there are bracketed tablature notes which offer different
options for playing intervals of a sixth. Although the bracketed option provides a
smaller physical stretch the problem of dampening the string between the two
notes arises: bar 46 contains two such examples.
2. The same ΠΠV pattern is used in the triple and quadruple-stopped chords that
begin in bar 19. The V has the plectrum moving towards the lowest note of the
chord in the next bar. The two sixteenth notes in tablature are arranged to
minimize the distance the plectrum has to travel.
3. Bar 23 sees the introduction of four-note chords. As the rhythmic pattern remains
constant these chords are played using a Π and are easier to play when
arpeggiated.
479
480
Double-handed arrangement
Wherever possible, the right hand has taken the upper melodic voice with the left
hand tapping out the remaining harmonic material. This idea is only altered when the
stretches become physically impractical.
1. Although the strings that the notes appear on are in close physical proximity
to one another, the distance between the two hands on a linear scale can be
relatively large, as in bar 22.
Technical summary
Alternate-picking dominates this caprice especially in the sections of double, triple, and
quadruple-stopping. In the more single-note orientated melody sweep-picking and
alternate-picking and their combinations are more commonplace.
Allegretto IX
dolce
BEADGBE
1312
1110
99
99
911
69 13
121110 5
99
99
911
569
69
911 9
9
911 9
91110
911 11
10
5
1312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911 9
91110
99
911 9
9
911
9
f
569 7
912
76
79 7
697
119
1211
119
97
76
97 7
79
912
76
79 7
697
119
1211
119
13
p
f
p
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911 9
91110
99
911 9
9
911
481
17
f
2
3
Chicken-picking
P
32
P
32
P
32
P
32
P
3
2P
3
2
P
3
2P
32
P
32
4
P
23 4
32
P
4
32P
Finger-picking 1
T
21
1 2 21T
1 2 2
1T
1 2
T
21
112
T
1 2 2
1T
1 2
T
21
T
21
21T
3 1 2
T
12 1 2
T
12
3 1 2
T123 1 2
569
12
1214
121412
11
9
1012 11
1214
1216 14
13
10
1216 14
710
811 9
6
5
58
5
710
8
79
7
3
04
37 8
10
12
1012 14
8
57
710 12
810
9
8 10 12
7
25
25
25
F.P
P
32
P
32
P234
P
P23 3
2P
32P
C.P
T12 1 2 2
1
T
1
221T
3
1 21T
1 2
T12
1 2
T12
1 2 1 2
10
9
8 10 12
10
10
1010
11
810
9
8 12
11
9
1012 11
79
811 9
79
89 10 9
12
29
29
29
F.P
32P
32P
3
2P
3
2P
32P
3
2P
3
2P
C.P
T12 1 2
T12
1 2
T12
1 2 1
2
T1
2 1 2
T12
1 2
T1
2 1 2
T12
1 2
11
9
1012 11
79
811 9
11
9
1215
13 12 12
11
9
1215 12
1214
1316 14
14
12
1517 14
1012
1214 12
482
33
33
33
F.P
32P P
32
3
2P
3
2P
32P
3
2P
32P
32P
C.P
T1
2 1 2
T12
1 2
T1
2 1 2
T12
1 2
T1
2 1 2
T
12
1 2
T12
1 2
T12
1 2
12
10
1316 12
910
1012 11
11
9
1214 11
79
811 9
810
811 9
6
5
811 9
79
8 9 11
8
5
5 7 8
37
37
37
p dolce
F.P 3
2P
32P
C.P
T12
1 2
T
12
1 2
T
1
58
5
56
7
45 7
8
7
9 1312
1110 5
99
99
911
69 13
121110
40
599
99
911
569
69
911 9
9
911 9
91110
911 11
101312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911
483
45
1
f
99
1110
99 5
911 9
9
911
69 7
912
76
79 7
697
119
1211
119
97
76
97
79
9
7 76
49
p
f
p
79 7
697 6
476
64
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911
53
f
99
1110
99 5
911 9
9
911
69
7
97
10
7
9
57
8
10
5
7 7 95 7 9
7 9 10
9 10 129 11 13
10 13 12 10 9
5
7
8
10
5
7
484
61
7
9
4
614 15 17
14 16 1814 16 17
15 17 1916 17 19 22 20 19 17
1717
12 10 912 10
17 15 1317
65
13
17 15 1317 15
1315
10 8 710 8
15 13 1215
12
15 13 1215 13
1215
17 15 1417 16
15
69
13
14 12 1014 12 15 14 12
15 1312 10 8
12 11
1314
15 13 14 1414
1614
1715
1715
17
15
17
73
12
14
13
15 15 17 1915 17 19
16 17 1917 18 20
17 19 20 24 22 20 19
15
1713
15
15
17
77
12
14
8
10 14 15 1714 15 17
14 16 1715 17 18
15 17 19 25 24 22 20
17
15 13 1215 13
1312 15 12
17
485
81
13
15 13 1215 13
1315
17 15 1417 15
1514 17 14 15
17 15 1417 15
1517
14 12 1114 12
1716 19 16
85
17
14 12 1014 12
910
12 10 8
1817 20 17
18
1515
17 13 12
1717 20 17
17
1415
1717 16
1617 20 17
16
1315
17 14
89
17
1715 19 15
17
1415
17 15 13
1412 17 12
14 1010
1213 12
1412 16 12
1414
1517 12 11
1412 15 12
1413
1517 14
93
12
f.b
20
1919
2021
10 12 1011
59
89 7
10 109
10 8 98
87
89
12 14 1214 12 12
1012 10 8 8
78 6
486
97
p
dolce
6
72 6
44
42 7
1312
1110 5
99
99
911
69 13
121110 5
99
99
87 5
69
69
911
101
99
911 9
91110
911 11
101312
1110
99
911 13
121110 5
99
99
911
69 13
121110 5
99
99
911
569
69
911
105
f
99
1110
99 5
911 9
9
911
69 7
912
76
79 7
697
119
1211
119
97
76
97 7
79
912
76
109
p
f
p
79 7
697
119
1211
119
97
76
97
79
1312
1110 5
99
99
911
69
64
97 77
676
79
912
569
911
113
99
1110
99 5
911 9
9
911
69
59
111413
911
5 569
69
69
487
19
Double-handed arrangementbars 19-37
Righthand
1
Lefthand
79
16 14 12
69
14 12 11
79
12 1114
81017 16 14
71017 16 14
61014 13 14
71017
79
16
359
12 11 12
51214 12 14
12
24
R.H
L.H
8
101216 14 16
8101417
15 17
101417
14 16
101519
1916
8101417
16
111419 17 16
79
12 1114
79
1314 15 14
16
29
R.H
L.H
111419 17 16
79
12 1114
1114
16 15 17 16 16
1114
17 1516
121417 16 14
912
1517 14
101216 14 12
33
R.H
L.H
710
13 1212
91014 12 11
69
16 1416
79
12 1114
81017 16 14
610
1216 14
79
13 14 16
81014 16 17
58
1014 10
7
99 11 8
488
Caprice X: technical break down, notes and overview
Alternate-picking Sweep- picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes
Combination of hammer-ons and pull-offs and alternate-picking
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 7, 12, 15-16, 20, 22-23, 27, 32, 34, 37-43, 45, 47-50
1-6, 8-11, 13-14
17-19, 21, 24-26, 28-31,33, 35-36, 44, 46
37-42, 47-50
51-76 57, 59-62, 69-77
51-56, 58, 63-68
73-76
Ossia 37-42, 47-50 37-42, 47-50
Technical overview
Although providing a technical workout of alternate-picking, string-skipping, hammer-
ons, pull-offs and sweep-picking, ‘Caprice X’ can be broken into two dominant
techniques, each working symbiotically with a complimentary technique. The first of
489
these is the combination of alternate-picking with hammer-ons and pull-offs and the
second, a combination of alternate-picking and sweep-picking.
1. In bar 1, the appoggiatura starts with a Π followed by a hammer-on and ΠΠΠs.
Although on first examination this method does not seem to use the most efficient
plectrum motion, it does help to reinforce the rhythmic idea.
2. Within the sequential writing of bars 5 and 6, three techniques are combined for
the maximum efficiency. The first two notes are sweep-picked, the next two are a
pull-off and hammer-on with the subsequent three being alternately-picked
starting with an V. Not only do these techniques combine extremely effectively
for “neighbour” note patterns, but they also retain a similar sound and feel to the
original bowing strokes that tie the neighbour notes together.
3. In beat two of bar 6, the plectrum pattern is a slightly altered form of that
encountered in bar 5. Instead of beginning with an V on the fourth note a Π is
used. This facilitates correct plectrum motion by the time bar 7 has been reached.
4. Bar 25 sees the introduction of string-skipping sweep-picking in order to
overcome the large intervallic leaps, especially those found at the end of bar 25.
The plectrum solution allows pick motion to be at its most efficient when the
large seven-string leaps occur. These are made more difficult by appearing in the
space of four sixteenth notes. The plectrum solution also has the benefit of
striking all the strong beats with a Π, which in turn allows the trills to retain
uniformity of tone.
5. Within bars 25 and 26, the recurring neighbour note idea is often played with
hammer-ons. However, a combination of alternate-picking and sweep-picking
can be more effective in certain situations in retaining a consistent tone when
executing larger leaps. When the subsequent note/notes require larger stretches or
490
491
the plectrum needs to jump over many strings, the quality of tone and duration of
the notes can suffer by using hammer-ons and pull-offs.
6. Bars 28-31 start with alternately-picked neighbour note sequences and end with a
sweep-picked arpeggio. To move from one bar to the next, the last note and the
first note of the subsequent bar are both sweep-picked Πs. Bars 28-31 exhibit the
same choice of strings and plectrum strokes with pitch alteration the only
difference.
7. The ossia staff clearly shows the preparation idea, which allows time for the pick
to move to the second knuckle of the second finger, whilst the fingerboard hand is
executing the hammer-ons and pull-offs.
8. The finger-picking version of the ossia staff beginning in bar 37 shows a
bracketed finger number which indicates where the initial vibration for the
hammer-ons and pull-offs needs to occur. The vibration in question can be
initiated with either a left-hand hammer-on or with the first finger plucking the
string.
9. The plectrum motion is reversed towards the end of bar 56 so that the beginning
of bar 57 can start with an V. This V allows the G and its lower octave to be
reached more easily; a similar idea occurs at the beginning of bar 59.
10. Reversing the plectrum motion again occurs at the end of bar 61, this time to
facilitate picking that arises in bar 62 and 63.
Technical summary
Whether combined with hammer-ons and pull-offs or sweep-picking, alternate-picking is
the dominant technique that arises in ‘Caprice X’.
Vivace
X
10fr
1
fmartellato
h
p h
10fr
h
p
BEADGBE
810
812
10 11 10 810 8 7
10 8 710 9 10
8 10 118
810
812
10
10 9 10 811 10
11 10 810 8 7
10 8 710 9
4
h
2
p h
p h
p h
p h
3
10
8 10 118
810 9 10 8
11 108
10 9 10 811 10
810 9 10 8 7
108
10 9 10 8 710
11 10 11 10 912
7
p h
ph
10fr
h
11
9
10
8
9
7
8
7
7
5
6
4 5 4 54 7
7
810
812
10
5 6 58 6 5
11 10 810 8 7
10 8 710 9
10
10fr
h
10
8 10 118
810
812
10
10 9 10 811 10
11 10 810 8
.
710 8 7
10 9 10
8 10 118 10 9 10 8
11 10
13
p h
p h
p h
p h
88
10 9 10 811 10
810 9 10 8 7
108
10 9 10 8 710
11 10 11 10 912 11
9
10
8
9
7
..
8
7
7
5
6
4
492
16
10
8
9
7
8
6
7
5
11 810
11 10 11
810
11 10 11
810
11 108
9 8
11 1210
11 10
13 1412
13 11
15 1715
16 15
13
20
p
12
15
15
18
13
17
11
15
14
18
17
21
8
10
10 11 8f.b
11 10 11
11 10 9 811
88
12 1110 910
9 811 10 910
12 11 10 812
812 11 9
24
cresc
5
10
11 89
11 88
10
11
13
8
10
11 10 11
11 10
10 11 10 11
14 13
10 11 10 11
11 10
10 11 10 1114 13
10 11 10 11
28
f
6
.
13 12 13
13 10
13 1012
13 1113 10 f.b
12 11 12
15 11
15
f.b
1213
1315 11
11
10 9 10
10 7
10 79
10 810 7
8 7 8
11 8
12
f.bf.b
.
810
1011 8
8
493
32
7
Finger-pickingh p p
9 8 9
810
9
11 10 11
1113
14f.b
8
11 88
11 810 11
8
811 9
f.b f.b
11 1011
1313
13
f.b15 1415
1415
15
f.b12
12 911
13101213
13
141312
37
f
8
11fr
7fr
9fr
7fr
6fr
8fr
F.P
f
T1
3
2
11
p h p p
h p
h p pT1
32
1
h p p 1
h ph p p
T
32
1p h p
T
32
1p
h p 3
2T
1p hh pp
3
T2
1
p h p
Chicken-picking
f
P2
44
33
P2
43
P
32
P
32
3
2P
3
P2
1416
15
18 16 1417 15 13
14111413 11
014
13
13 101110 8
11
13111413 11
911
11 9 710 8
8
712 11 9
1110
1113
1110 811 9
9
8
9 7 58 6
41
7fr
7fr
p
F.PT
3
12
1p
h p p h p p h p 3
T12
1p h p p
h p p h p
C.PP
4
23
P
4
2
3
. .
79
8
11 9 711 9 7
9 8 69 8
911
9
12 11 911 9 8
11 9 711 9
12 11 12
1213
12
9 8 9
1011
11
6
10 78
79
.
6 7
9
9 7 6
494
45
f
5fr
12fr
Finger-picking
f
3
T
21
1p
h p p h p h p p T
1
2 1p h p p
h p h p p
Chicken-picking
f
4
32P
32
P
9 8 9
99
9
11 1011
1011
11
8
8 57
9 68 9
9
10 9 71012
11
14 12 101311 9
12 91211 9
13
12
15 14 12141311
11 91211 9
49
10fr 8fr
7fr
7fr
p
F.PT
21
1
ph p
T
2
11
p h p
2
T1
1
p h p
2
T1
1p h p
C.P
P
32
P
32
P
32
P
32
1012
11 9 711 9
14
13
12 11 912 11
1214
12 10 912 10
10
9
912 10 9
1215 14 15
1214
15 13 12 13
1214
13 12 10 12
1010
12 11 10 11
1110
11
53
cresc
3fr
f
9
.
10 9 10
1212
10 9 8 9
9
109 8
11 8
810
10 7
11 8
810
911
11 810
11 8
810
8
8 10
10129
1113 10
11 1012 10 8
.
121081210 9
495
57
9
3fr
9
5
85 6 8
810
8
8 10
10 9 10 8 6 5
11 101210 8
12 10 81210 9
5
85 6 8
810 9 10 8 6
108
10 9 10 8 610
10 9 10 8 710
61
10
88
10 910 8 710
11 10 11 10 9 811
9
10
8
9
7
8
7
7
5
6
410
8
9
7
8
6
7
5
11 810
118 10
11 107 8 10
11 10
10
65
8 10
811
1210 12
10 8
8
161518
1817 20
2120 23 20
21
1513 16
141215
1412 15 18
14
0
15 14 13 1215 1412 11
1210 7
69
p
cresc
.
10 9 10 9 8 711101110 8
11 10 8 10 118 9
81010 9 10 9 8
10
12 111211 10 91312131210
13 12 11121310 11
.
12111211 1012
496
73
f
10fr
12fr
10fr12fr
10fr
12fr10fr
12fr
810
812 11 12
10
12
11
10
10
10
1012
11
10 9 1010 8
10 810
812 11 12
10
12
11
10
10
10
1012
11
10 9 1010 8
10
75
10fr12fr
10fr12fr
10fr
12fr
10fr 12fr3fr
810
8
8 7 8
10
12
11
10
10
10
1012
11
810
8
8 7 8
10
12
11
10
10
10
1012
11
810
8
8
497
37
Double-handed arrangementbars 37-42
Righthand
f
Lefthand
f
91115
18 16 1417 15 13
9 69 8
1159
1317 14
16 15 1316 8 6
9 8 69
1115 13
16 15 138
1216 15 13
16 15
40
R.H
L.H
111316 15 13
16 14
. .
91318 16 14
18 1679
13
16 14 1215 13
79 8 6
9 8
91114
16 15 1316 14 13
16 14 1216 14
47
bars 47-50
R.H
f
L.H
f
57
11
14 12 1013 11 9
12 912 11 9 8
715 14 12
14 13 11 6 47 6 4
101216 14 12
16 149
1317 16 14
17 16
121417 15 14
17 151014
14 12 1014 12
498
73
bars 73-77
R.H
L.H
8101317 16 17
10
1215
10
1014
1012
11
10 9 1010 8
10 8101317 16 17
10
1215
10
1014
1012
11
.
10 9 1010 8
10
.
8101317 16 17
10
1215
10
1014
1012
11
8101317 16 17
10
1215
10
1014
1012
11
8101317
.
499
Caprice XI: technical break down, notes and overview
Alternate-picking Sweep- picking
Finger-picking techniques
Bar numbers
Straight alternate-picking single notes, double-stops, triple-stops and quadruple-stops
Combination of hammer-ons and pull-offs and alternate-picking
Combination of alternate-picking and sweep-picking
Finger-picking
Chicken- picking
Double- handed finger-tapping
Bars 1-50 1-3, 7-11, 15-28, 35
4-6, 12-14, 29-34, 36-50 1-28
51-100 57, 59, 74, 77, 80-84, 93-100
51-56, 58, 60-73, 75-76, 78-79, 85-92
93-100
100-105 101-105 101-105
Ossia 1-28, 93-105
1-28, 93-105
Technical overview
500
501
A wide range of techniques can be used effectively in ‘Caprice XI’. This transcription,
however, offers four technical solutions. In the chicken-picking ossia staff both the
plectrum strokes and finger picking solutions are valid within this context.
1. Arpeggiation of notes makes the larger intervals in the chords easier to play. This
is especially so in the andante section: a good example of this is the first chord of
bar 7.
Double handed arrangement
1. Within bars 15-17 the hands not only switch parts but also interchange positions
on the neck. This can be extremely confusing as it requires the right hand to
perform string-skipping relatively quickly.
2. In contrast, bars 19-25 return to a more “ordered” approach revealing the
harmonic underpinning of the caprice. This section requires the harmonic support
to be performed by the left hand and the melody by the right, a concept which is
mirrored in bars 93-105.
3. In bars 99-100 the functions of the hands change with the melody now assigned to
the left hand and the harmony to the right.
Technical summary
Although alternate-picking is the dominant technique in ‘Caprice XI’, the ossia staves
and the double-handed finger-tapping additions take up nearly half of the caprice.
XIAndanteAndante
h
h h
Chicken-picking
P23
P23
2 3 2
P
3 2
2
P
3 2P23 P
32
2 3 2 3
P
32
2
h
3
P
h h
2
Finger-picking
1
T
2 1T
21 2 1
1T
2 1
1T
2 1T
2 1T
21 2 1 2 2
1T
1 h
1
h h2
T
BEADGBE
710
8
10
9
810
12 1012 10 10 9
7
67
57
5
9
910 12 10
8
109 10
912 9
7
8
7 88
5
h h h
hh
5
h h h
hh
1
C.P
P23
4 2 3 2
h h h
P2 3
hh
2P
34
2 3 2 32
5
h h h
P23 h h 4
32P
2
3 2
3
2
334 P2
F.P12
3
T
2 1 2
h h h
1T 2
hh 3
1T
21
2 1 21
5
h h h
1T 2
hh 321T
1
2
1
2 1
2 321T
8
7
5
812 10
12
8
7 8 109
7 88
8
7
5
8
1212 11
14 13
8
7 8 109
7 88
911
10
13 11 913 12
810
912 11
8
9
h h h
h h
C.PP
32
P
32
2 3 2 32P
P2
P
32
P
32 P
32
P
32
P
32
P
32
P
32
2 h h h 3
P2
h h
F.PT
21
21T
1 2 1 2
1T
T
2
11 2 1 2
1T
21T
21T
21T
21T
2
1T
2
T
1
h h h
1T
2h h
68
8
58
8
5
69 8 6
8
6
5
8 68 7
46
5
5
3
4
68
7
7
5
6
6
8
8
68
7
78 8 7
7 8 10 8 7 8
910
502
13
h h h
h h
5
h h h
h h
C.P 3
P2
2 3 2
h h h
23
P
h h
3
P2
2
3 2 3 2
5
h h h 32P
h h32P
2 3
3
2P
2 3 3
2P
2 3 3
P
2 2 3
32P
2 3 32P
2
3
F.P
T
21
1 2 1 h h h
T12
h h
2
T1
1
2 1 2 1
5
h h h 21T
h h2
T1
1 2
21T
1 2 2
1T
1 2
T1
21 2
T1
2
1 2
T
21
1
2
8
6
8 7 58 7 8 10 8 7 8
910
8
6
88
7 6 59
910
7 8 10 9 7 9
8
6
5 7 8
9
8
8 7 5
9
910 9 10
8
109
9 8
1089
9 8
111010
1213
17
C.P 32P
2 323
P
2 3 3
P2
2 3
3
P2
3
P2
2 3 2 3
P2
3
P2
F.P 21T
1 2 21T
1 2
T21
1
2
1 2 1 2 1 2 1 2 1 2 1
T12
T1
21 2 1 2
1T
1 21T
866
910
655
88
1089
67
7
55 7 8
4 5 6 7 85 6 7 8
10
9
8
5
12 1012 10
6 5
7
67
21
C.P 3
P2 3
P2
32
P
2P
3 3
2P
2 3 3
P2
2 32P
3 2 3
P
32
2 3
23
P
2 3
P23
2 3
F.P 21T
21T
1 2 1
2 21
T
1 2
1T
2
1T
1 2 2
1T
1 2
T12
1 2
T12
1 2
T12
1 2
T12
1 2
57
5
9
910 12 10
3
59 10
57
89
8
710
810
88 7
912
10 12 13
1012
1010 8
1114
12 13 15
1214
1212 10
13 15 17
503
25
C.P P
3 22 3
2
P
2
P23
232P
32P
2P3 2
P3 2
P3 P
23 3
2P
32P
32P
32P
P23
P23
P234
F.P
21T
1
T12
1
T12 1
T
21
T12
T12 T
12 T12
T12 T
12 T
12 T
12
T12
T12
T12
T123
16
15
15
14
1819
15
12
1517
13 12
87
5
108
10755
875
675
109
10
10108
878
887
9
8
7
8
7
5
810
9
87
55
Presto
29
p
3 3
1312
1415
12 11 14 1215 12 10 5
78
87 8
75 9 10
10
12
10 1210
13
12 1412
1312 15 12
15
1012 8
33
6
1212 10
1212
12 1312 10 9 7
910
108
75
5 9 107
10
13
129
10
15
9 10 1212 15
15 13 12
1012
13
504
37
12
10 9
10 8
12 11
12 10
8 7
8 6
5 4
5
5 87
76
5
6
8 5
8
7 119
99
7 1213
1414
15 12
41
19 2321
2121
19 24 2022
2122
24
2121
19 24 1921
12
2121
23 1919
21 17
1717
15 2020 17
17
1517 13
45
13 1715
1514
1313 17 20 25
1918
1717
1718
19
1214 10
10 1312
1210
1010 13 17 22
11 1513
1313
1213
1012
13
49
6
66 6
1213
15 1214
1214 11
13 10 8 1110
1010
13 1012
13 1013
13 1012
13
1012
13 1113 11
1213
1315 11 10
1012
1413 10
505
53
13
131010
1212 11
11 810
911 9
810
9 8
1011 9
8 11 9
810
9 8
1012
13 8 11 9
1010
911
911
13 9 13
57
9
13 10
9
8
1010
8
6
66
6 5
9 68 5 8 6
68
6
8
69 6
9
1111
13
10
910
12
61
11
11 89
11
911 8
7 119
98
77 11 14 19
108
6 97
5 87
5 8
6 98
86
66 9 13 18
65
p
86
4 75
3 65
3 6
9 1311
11
9
1013
1413
13
11
11 1011
1010
13
13 1113
1111
14
10 8
9 68
11
1110
8
11
11
506
69
108
1011
1613
1316
13
14 13
1110
14
11
13 1111
1114
11
13 11
10 13
13
9
11 1010
1013
10
11 9
1113 11 9
1514
14 18
14
73
12
1113
1212
14 1112
1113 11
1213
16
14
1211
11
12
12 912
11
14 1110
1113
13
1314
14
12
15 1213
1214
77
10
911
10
10
910
10
8
11 89
10 8 7
8
8
10
9
12 911
12 10 8
10
10
10
8
8
10
10
11
12
12
10
81
8
9
9
12
10
10
12
15
13
14
12
14
11
14
12
12
9
12
10
10
7
10
8
8
7
7
6
6
5
5
4
7
507
85
8
1212 9
1010 7
12
8
12
8 1110
108
88 11
9
11
10
15 1012
1212 9
15
15
19
1513
1213 16
15 20 23
21
23
89
17
22 1920
1921
17
191515
1617
19
2019
2122
2220
1921
222219
15121615
101410
12
1110
1014
814
10 121410 1112 13
9 10 11
Tempo I
93
f
Chicken-picking
32P
P
3
22 3 2
P
32
2
32P
P23 3 2
P
2 3 2 3
P
32
2
32P
Finger-picking
21T
T
2
11 2 1
T
21
1T
21 T
12 1
2
T
1 2 1 2 21
T
1 21T
710
8
10
9
810
12 1012 10 10 9
7
67
57
5
9
910 12 10
8
109 10
9 7
89
12
508
97
C.PP
32
2 3 2 3
32P
2 3 32P
2 3
32P
2 3
P
32
2 3 3
2P
2 3
2P
2 3
2P
2
P
32
P
32
P
32 3
2 P 32P 3
P 2 P
32
F.P21T
1 2 2
1T
1 2 21T
1 2 21T
1 2 21T
1 2
21T
1 2 2
1T
1 21T
1 21T
1
21T
T12 21
T T12
12T
21T
7
5
810
88 7
912
10 12 13
57
1010 8
6
57 8 10
1214
7 12 10
16
15
12 13 15
15
14
1718
15
12
1317 13 12
87
10
108
10755
875
675
109
10
10108
101
C.P
P
32 P
32 P
32
P
32
P
32
4
2P
3
P 2
3
P
32
P
32
4
P
32
P
32 P
32
P
32
4
P
32
2
34
P23
2 3
3
P2
2 3
P
F.P 21T T
12
21T
2
T1
2
T1
21T
3
21T 2
1T
21T
321T
21T
2
T1
2
T1
2
T1
3
1
2 21T
3
12 2
1T
1 2
T
878
887
9
8
7
8
710
810
9
87
55
9
8
7
8
710
810
9
810
9
8
9
8
7
8
7
5
8
5
4
810
9
1213
12
1315
14
1312 9
1315
1214
15
13
509
1
Double-handed arrangementbars 1-28
Righthand
Lefthand
71012
59
810
16 1417 15 15 14
71112
57
10
914
5 7 5
8
10
4 514 12 9
7
8
7 88
81215
17 16 1417
812 13 15
1412 1313
6
R.H.
5
L.H.
81215
1717
16 1519 18
812 13 15
1412 1313
91115
17 15 1318 17
81014
1216 17
68
12
58
810
15 13 1215 13
610
1215 13 12
11
R.H.
L.H.
46
10
58
13
68
12
71015
11
138
1113
71213 13 12
12 13 15
91013 12 13
8
613 12
15 13 12 13 15 12 13
91013
510
14
R.H.
5
1
L.H.
811
1313
12 11 1014
910
12 13 15 14 12 14
81115 17 18
91318 17 15
91415 14 15
81514
13 12
1513
4 13 12
1615
517
17
17
R.H.
2
L.H.
1311
6 1315
1110
5 1213
1513
910
127
1010 12 13
9 10 11 128 9 10 11 12
59
810
16 14 1215 15 14
71112
101215
91415 17 15
8
1014 1514 12
89
12
23
R.H.
L.H.
710
810
12 17 16
912
14 16 17
1012
1415 13
1114
16 17 19
1214
1617 15
1115
13 15 17
1014
1819
1012
19 17 17 16
87
5
108
5
1210
5
1312
5
1112
5
109
5
1010
3
1312
3
1313
2
913
3
812
5
810
4
87
109
511
93
bars 93-105
R.H.
2
L.H.
71012
10
9
810
16 1417 15 15 14
71112
57
10
9
910 12 10
8
109 10 14 12
89
12
710
810
1213 12
912
14 16 175714
15 13
69
12 13 15
79
12 17 1512 13 15
99
R.H.
3
L.H.
11
10
10
9
1718
1012
18 1717 16
87
5
108
5
1210
5
1312
5
1112
5
109
5
1010
3
1312
3
1313
2
913
3
812
5
810
4
87
109
913
7
812
5
810
4
8101417
91317
81215
81014
81014
17 13
17
8101417
1714
81017 14
158
512
Caprice XII: technical break down, notes and overview
Alternate-picking Sweep-picking Bar numbers
Straight alternate-picking
Combination of alternate-picking and sweep-picking
Bars 1-50 1-3, 5-7, 9-29, 31-50. 4, 8, 30 51-70 51-70
Technical overview
There are many technical similarities between ‘Caprice XII’ and ‘Caprice II’, the most
important of which is the use of straight alternate picking. ‘Caprice II’ has the pedal tone
primarily above the melody whilst ‘Caprice XII’ has it below. This creates a
fundamental difference between the two caprices in terms of plectrum stroke order.
‘Caprice II’ predominantly uses a Π on the strong beats in the bar, with the opposite
applying to this caprice.
Another noticeable difference is the consistent utilization of alternate-picking. Unlike
‘Caprice II’, which reverses its plectrum strokes at different points to accommodate the
melody, the alternate-picking in this caprice remains constant throughout. Such a rigid
picking philosophy creates different plectrum possibilities best seen in the contrasting
pick motions of bars 16 and 17. Bar 16 has the plectrum motion moving towards the next
note whereas the motion in bar 17 is away from the next note.
Technical summary
Alternate-picking is used exclusively throughout this caprice.
513
AllegroXII
p sempre legato
BEADGBE
11
9
11
9
11
9
11
9
11
9
10
913
912
910
911
9
10
9
13
9
11
9
10
9 f.b13
911
9
8
8
6
8 f.b
7
8
6
8
8
8
6
8
7
8
6
8
4
f.b8
65 6
f.b6
55 6 f.b
4
44 5
5 66
811
9
11
9
11
9
11
9
11
9
10
913
912
9
6
109
119
10
9
13
9
11
9
10
913
911
912
89
8
7
88
8
7
89
8
7
88
8
8
f.b9
1010 11
8
109 10 8
98
7 f.b8 1110
108
6
8
6 f.b8
6
6
8
5
8
9
8
6
87
6
f.b
8
10
10
8
12
6
13
5
12
6
10
13
13
15
128
11
10
11
10
11
10
11
8
11
7
11
109
79
76
85
10
13
11
12
13
12
15
1313
11
12
13
1110
1011
1011
f.b
1011
1010
f.b
12
13
13
11
10
10
12
13
14
f.b
13
11
10
10 f.b
12
11
13
13
10
10
12
11f.b
13
13
10
10f.b
13
11
12
11
11
11
10
11
9
1113
11
13
10
12
11f.b
10
8
9
8
8
8
7
8
6
8
5
8f.b
6
7
8
8
514
17
9
10
10
10
11
12
12
12
13
13
10
10
11
12
13
13
10
11
11
13
9
10
10
11
12
12
13
13
10
10
11
11
9
1011
10
8
910
97
95
6
10
9
10
6
20
6
8
6
8
6
7
6
6
6
5
6
4
6
8
6
5
68
6
7
6
6
6
5
6
4
6
8
6
6
68
8
66
5
78
75
66
8
8
9
6
68
23
f
8
66
5
78
75
66
8
8
9
11
11
8
811
11
8
97
8810
98
10 1110
1011 13
1211
1312
11
13
10
9
8
10
9
11
10
1113
811
8
27
p
16
13
16
13
16
13
16
13
16
13
15
13
13
1316
1314
1315
13
15
13
13
13
16
13
15
13
13
1315
13
13
1215
1216
1215
1217
1215
1216
1215
12
30
12
11
14 1515
1514 15
13
18 14 15
19 202017
21
19
21
19
21
19
21
19
21
1923
1922
1920
1918
2017
20
1516 18
1716
1815
1818
19
16
18
515
33
1512
1312 16 13
14
16
13
1516
1414
16
13
14
14
12
13
12
12
1216
1215
1114
11
14
11
13
11
35
11
9
10
9
9
913
912
911
9
11
8
9
9
9
7
9
7
9
7
89 11
129
11 12 9 1112
37
911 12 9 11
129
11
12
9
12
9
12
9
1211
1412 11 14 12 15
12
14
13
15
13
15
13
15
1312
39
10 13 1210
1311
13
10
14
11
14
11
14
11
1413 11 1413
1114
12
14
11
15
12
15
12
15
12
15
12
11
13
11
13
11
13
11
13
11
13
13
13
12
13
10
13
42
12 9 119
910 12
1110
129
1212
13
10
12
9
1112
1110
1213
1012
910
9 131012
13
13
11
12
11
11
1115
1114
1113
11
13
10
12
11
45
12
10
11
10
10
1014
1013
1012
10
13
9
11
1013
11
13
11
13
11
1213
1011131011
1310
11 13 101113
1011 13 10
11
8
11
8
11
8
1110
516
48
1311 101311 14
15
13
12
14
12
14
12
14
1211 9 12 11
912
10
12
9
13
10
13
10
13
10
1312 1013 12
1013
11
13
10
14
11
14
11
14
11
14
11
51
15
12
15
12
15
12
15
12
15
12
12
1215
1213
12 16131513
1314 16
1514
1613
161613
14
16
13
1516
1514
16
12
1416
1314
1312
1416
12
54
12
10
11
10
10
10
9
10
8
9
7
9
9
10
7
10
10
11
9
11
10
12
9
12
11
12
10
12
11
1313 10
1011
109
13
11
11
8
10
9
8
11
118
810
57
1011
10
10
12
11
13
13
11
10
13
11
14
13
15
10
13
11
12
11
11
11
10
11
9
1113
11
14
10
13
11
10
13
9
13
13
13
12
13
11
13
10
13
11
12
13
13
60
14
15
15
15
11
12
12
12
13
13
15
15
11
13
13
14
10
11
11
13
9
10
10
11
12
13
13
14
10
12
11
13
9
911
9
139
109 12 9
911
9
9
911
517
63
11
10
11
13
11
12
11
11
11
10
11
9
11
13
11
10
1113
11
12
11
11
11
10
11
9
11
13
11
11
1113
911
1311 9 13 9 12
1311
9
119 13
812
66
f
911
1311 9 13 9 12
1311
9
119 13
812
911
11
13
1412
1313
119 1310 11
1010
11 1312
1113
12
11
13
10
14
1310
9
11
10
1113
518
Caprice XIII: technical break down, notes and overview
Alternate-picking Bar numbers
Alternately-picked double and triple-stops
Combination of single note and double-stops
Straight alternate-picking single notes
Combination of hammer-ons and pull-offs and alternate-picking
Bars 1-44 1- 18, 23 B1-B4, 27 29-32 19-22, 23 B5-B6, 24-26, 28, 33-44
Ossia 19-20 FH, 24-25 FH, 28-31, 33-34 FH, 38 SH-39, 40 SH, 41 SH-43
Technical overview
‘Caprice XIII’ can be divided into two separate sections; bars 1-18 and bars 19-44. The
first section illustrates the predominance of alternately-picked double-stops, with the
plectrum motion within the second section being reminiscent of ‘Caprice XII’ in which
the strong beats in the bar are played with an V.
1 In bar 19 there are a number of possible options for plectrum motion including
any number of combinations between the ossia staff and main staff. For
519
520
example, it is possible to use the bracketed plectrum stroke option for the first half
of bar 20 and the ossia staff for the second.
2 In attempting to retain the bowing style of the original that slurs adjoining notes
under the same bow stroke, the ossia staff takes advantage of the benefits
provided by using hammer-ons and pull-offs when playing conjunct sequences;
one of these is the ability to place accents with a Π where desired. Sweep-picking
in combination with hammer-ons and pull-offs can be used to economize further
the plectrum motion. This is illustrated with the sweep-picking motion between
the last note of beat one and the first note of beat two in bar 20 and, to a larger
extent, in bars 29-31. One of the drawbacks of using hammer-ons and pull-offs in
combination with plectrum strokes is the timbral inconsistencies that are created.
In this case, a light plectrum pressure is more desirable if timbral inconsistencies
are to be kept to a minimum.
3 The finger-barrés that occur at the end of bar 38 and midway though bar 39 are
most effectively performed using the second finger.
4 The plectrum motion in the ossia staff at the end of bar 41 has been altered
slightly to facilitate optimal picking in the subsequent bars.
Technical summary
Whether the combination is string-skipping, hammer-ons, pull-offs, or adjacent string
motion, alternate-picking is the most prevalent technique employed in ‘Caprice XIII’.
Allegro
XIII
dolce
BEADGBE
1210
1312
f.b f.b1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
810
58
810
1312
1013
1210
1312
6
f
p
f.b f.b1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
810
10
8
887
658
87
108
87
1110
108
87
108
87
1211
1010
87
108
87
1515
13
f
Fine
1413
87
108
87
1211
1010
87
108
87
14
13
1210
1312
1210 15
151414
1413
1312
1211
1110
109
98
87
76
108
87
8
5
58
887
658
19
f
1
2
h p
h p
h p
10 10f.b
10 9 10
8
12
10
f.b
10 9 10
8
12
1010 9 10
8
12
10
11
9
10
8
9
7
8
6
7
5
6
9
10
8
8
6
7
58
10109 5 5
521
24
h p
h p
h p
10 9 10
8
12
1010 9 10
8
12
1010 9 10
8
12
10
11
9
10
8
9
7
8
6
7
5
6
9
5
8
8
6
7
58
5
28
dolce
2
dolce
h p h p h p h p
h p
15 1515 14 15
12 1615
1213 12 13
101312
10
13 12 13
101413
1011 10 11
8 1210
8
11 10 11
131211
1314 1314
1216
15
121211
10
1211
11
1211
9 10
16
15
10
33
f
f h p
h p
h p
10 9 10
8
12
1010 9 10
8
12
1010 9 10
8
12
10
10
8
8
11
10
12
12
10
11
9
11
8
10
7
8
5
135
11
8
10
7
168
146
157
168
522
37
3
h p
h p
h p
h p
14
11
15
12
16
13
14
10
15
12
13
1015
13
14
12
12
10
f.b11 10 11
9
13
11f.b
11 10 11
9
13
1111 10 11
9
10
9
13
9
13
9
13
9
9 7 9
10
10
11
41
4
D. C. senza replica
h p h p h p
h p
h p
7
8
8
10
10
11
12 10 12
15
10
14 15 14 15
1215
12
f.b
12 11 12
1012
10f.b
10 9 10
8
12
10f.b
10 9 10
8
12
1010
8
523
Caprice XIV: technical break down, notes and overview
Alternate-picking Bar numbers
Double-stops
Combination of triple-stops and single notes
Triple-stops Quadruple-stops
Double-handed finger-tapping
Bars 1-45 1-2, 9-10, 24, 25 B1, 28-29, 33 B2-B4, 34 B 2-B4, 44 B2-B4, 45
7-8, 13-24, 35 B2-B4, 36-37, 39-42
3-6, 11-12, 25 B2-B4, 26-27, 30-31, 38, 43-44 B1
32, 33 B1, 34 B1, 35 B1
1-45
Technical overview
Being similar in length to ‘Caprice XIII’, ‘Caprice XIV’ is dominated by extensive use of
harmonic chord voicing with an underlying rhythmic pattern. As was done in ‘Caprice
IX’, the assigning of a plectrum pattern to a specific rhythmic idea reinforces the overall
cohesion of the caprice whilst retaining the feel of the original. ΠΠΠs dominate the
rhythmic idea, illustrated in bar one, with ΠΠΠs followed by an V and another grouping
of ΠΠΠs.
524
525
ΠΠΠs can as in this case allow the palm of the hand to generate more uniform notes,
cutting them off and controlling staccato and tenuto phrasing. For this reason, the
chord voicings are arranged to have the minimum number of unused strings between
them. However, as the notes in the chord voicing become further apart this becomes
more difficult to achieve. Bar 32 is a case in point: if the fingering is to remain
realistic performing it this way is one of the practical options. However, it leaves
three unused strings between the notes of the chord which must be dampened. The
double-handed arrangement helps in the aforementioned problem by offering a
complete or partial alternative to the more traditional electric guitar technique.
From bar 13 to the end the plectrum strokes have been arranged wherever possible so
that all chords are played with a Π. This helps to emphasize the rhythmic element
whilst allowing the palm of the hand to control note duration and string noise.
Technical summary
Alternate-picking constitutes the technical backbone of ‘Caprice XIV’.
Moderato
XIV
f
simile
BEADGBE
65
65
65
65
65
65
68
36 6
53
653
653
653
653
653
68
7
8
6
8
68
8
68
8
68
8
108
11
68
8
58
6
9
810
57
6
7
simile
6
5
610 8
67
6 85
6
58
6
6
8 8 813 13 13 13 13 13
121312
1312
1312
1312
131210
131210
131210
8 8131210
131210
119
11
119
11
119
11
119
11
119
11
13
1
109
12 12
89
11 12 13 12
11
1012
13
1112
9 10 11 10
10
810
11
91012 13
913
13
1113
13
89
11 12 13 12
12
1012
12
1112
9 10 11 10
18
simile
9
810
10
10
8
10 8
68
7
11 11767
767
658
10 10
1112
11
1112
11
10
810
8 8 98
10
98
10
1312
1113 13
1314
14
1314
14
23
p
cresc
ff
p
cresc
1215
13 13 13 13 13 13
13
13
13
13
13
13
13
13
13
13
14
13
13
14
13
13
14
13
13
14
13
13
13
13
13
910
9
910
9
910
9
910
9
91013
11 1111 11 11 11 11 119
119
119
119
119
11 11
526
30
ff
11109
11109
11109
11109
11109
1214
13
1214
13
1214
13
1214
13
1214
13
10
9
8
8
10
9
8
8
10
9
8
8
10
9
8
8
10
9
8
8
11
1013
1115
15
15
15
12
11
15
15
1113
12
1113
13
13
13
10
10
13
13
35
1113
12
1113 11
1112
10 11 13 11
10
811
12
89
11 12 13 12
11
1012
13
91012 13 14 13
13
1113
12
1213
11
1313
11
1112
111013
13
91012 13 14 13
40
8
68
8
10
810
8 9 11
1113
1211
1112
10 11 12 11
1013
1111
1013
10 11 910
8
6
8
68
7
8
6
8
68
7
8
6
8
8
6
8
6
8
6
8
6
8
6
527
1
Double-handed arrangementbars 1-45
f
Righthand
Lefthand
1110
1110
1110
1110
1110
1110
1113
811 11
10
3
1110
3
1110
3
1110
3
1110
3
1110
3
1113
3
811
4
1113
8
1113
8
1113
8
1513
11
1113
8
58
10
91314
101215
61015 14 12
67
10 12 14 10
1013
11
11
9
R.H.
L.H.
8 8 813 13 13 13 13 13
121312
1312
1312
1312
1312
6
1312
6
1312
6
8 81312
6
1312
6
119
7
119
7
119
7
119
7
119
7
109
12 12
89
11 12 13 12
111517
17
111214 15 16 15
101315
15
91012 13 14 13
16
R.H.
L.H.
81113
13
89
11 12 13 12
71012
12
679 10 11 10
48
1010
58
10 8
68
12
6 6 767
767
20
R.H.
L.H.
1110
36 6
1112
7
1112
7
58
108 8
1413
5
1413
5
1312
6 13 13
81014
81014
121518 18 18 18 18
528
24
R.H.cresc
ff
p
cresc
L.H. ff
p
181318
1318
1318
1318
1318
91318
91318
91318
91318
81318
910
9
910
9
910
9
910
9
91013 6 6
1111 116
11 11 119
119
119
119
119
119
4
119
4
119
4
119
4
119
4
79
4
79
4
79
4
79
4
79
4
6 6
32
ff
R.H.
ff
L.H.
10
91317
10
91317
10
91317
10
91317
10
91317
11
101315 15
201520
1216
1520
68
1215 13
181318
1015
1318
11131720 17 15
111214 15 17 15
101315 12
89
11 12 13 12
61012
13
91012 13 14 13
81113
71213
61313
61112
39
R.H.
L.H.
111013
13
91012 13 14 13
81113
13
101315 17 18
15
111317
15
111214 15 16 15
101315
16
1013
14 15 1315
36
13
68
12
36
13
68
12
811
8
811
811
811
811
811
529
Caprice XV: technical break down, notes and overview
Sweep-picking
Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking single note
Octaves, double-stops, triple-stops including slides
Single notes, double and triple-stops
Bars 1-35 9 SH, 10-11 B1, 11 B5-B6, 12-13 B1, 13 B5-B6, 14-17 B3, 18 B1-B4, 21 B3, 29 SH
20, 21 B1-B2, 21 B4-B6, 22-23, 29 FH
1-9 FH, 11 B2-B3, 13 B2-B3, 17 B4-B6, 18 B5-B6, 19, 33-35
24-28, 30-32
Technical overview
The octaves played between bars one and nine have the same finger spacing, making the
main focus the linear movement and the slides. With so much linear motion occurring in
the left hand, the dampening of the unused middle string in the finger pattern is of
paramount importance.
Both notes connected by the slide are either a semitone or whole tone apart, having been
arranged on the same string. This helps retain both the continuity of tone and the
phrasing, further reinforcing the rhythmic structure and overall octave theme. By
530
531
utilising a combination of ΠΠΠs and slides, it is possible to optimize the plectrum motion
whilst retaining palm control over the portato phrasing.
1. In both beats four and five of bar 16, the plectrum motion consists mainly of
sweep-picked down-strokes arranged to make linear motion unnecessary.
However, sweep-picking is interrupted between the last note of beat three and the
first note of beat four requiring a string-skip before continuing. Skipping the D
string, or indeed omitting any string from a continuous sweep, creates a unique set
of problems. In this case, the notes either side can create an inequality of tone.
2. Within bars 24 and 25, the movement from the single note to double-stopped
thirds utilizes a string-skipping sweep-picking technique that occasionally
requires the plectrum to traverse all seven strings in the space of a sixteenth note.
The second double-stop is played with a V which moves the plectrum towards the
next note, a five-string skip away.
3. The plectrum reversal within bar 26 is initiated by a reversal in the order of low
and high notes. Sweep-picked Vs are used mid-bar in order to retain optimal
plectrum technique.
4. The last six notes of bar 29 utilize sweep-picking for the express purpose of
retaining the plectrum pattern established in bars 24 and 25 and applying it to bars
30 and 31.
5. Retaining optimal plectrum motion through sweep-picking also occurs at the end
of bar 32.
Technical summary
Alternate-picking in combination with slides, double-stops, triple-stops, consecutive
down-strokes and sweep-picking, are the main techniques used in ‘Caprice XV’.
Posato
XV
p
s
s
ss
f
ss
p
ss
ss
f
ss
p
BEADGBE
7
9
9
11
10
129
12
7
10
5
8
6
8
7
9
9
11
6
8
7
99
11
10
12
12
1410
13
9
12
7
10
8
10
9
119
12
6
8
7
9 9
12
7
10
6
f
ss
p
f
ss
decresc
ss
s
s
f s
s
p
5
8
6
9
7
10
9
11 7
10
5
8
4
7
4
7
5
8
7
9 5
8
4
7
3
6
5
8
4
7
2
5
8
10
6
8
7
9 8
11
9
129
87 12
1110
11 14
10
1212
12 15
1617
15 19
1416
14 17
1212
12 15
1311
12 17
14
1212 17
11
f
ss
p
1112
11 14
13
15
14
16 1112
11 14
1212
12 15
1413
14 17
1719
17 20
1617
15 19
1413
14 17
1513
12 18
1614
16 19
13
f
ss
p
f
p
1617
15 19
13
16
14
1721
2019 24
1921
19 22
1717
17 20
1816
17 21
1917
17 22
1614
15 1919
1917 22
1719
17 20
532
15
f
p
f
1
1615
15 19
1614
15 19
1716
15 20
1412
13 1717
1715 20
1617
15 19
1413
14 17
108
7 12
119
7 10
12 1715
14
1617
15 19
1211
99
17
s
s
s
s
Fine
9
19 1517
1617
1617
19
1617
19 14
15
18
16
19
12
1212
13 1416 12
12
16
1516 17
19
121414
12
9
8
1214
16
12
99
11
13
12
14
20
f
810
9
8 8 12 10 811 9 7
10 9 710 9 7
10 8 7 10 810 8
10 12 1410 12 14
11 1212
1212
15 1215
1519 15 22 19 27
8
22
10
11
10 14 12 1014 12 10
12 11 912 11 9
12 10 9 12 10 7 5 7 95 7 9
6 77
77
1011
1010
1415
1719
22
0
533
24
2
912
7 8 10 7 8 58
1514
1312
14 15 17 14 15 1215
1413
1212
7 85
7 8 58
1212
14
14
9 10 12 9 1012 10
14
12
26
3
14
14
012
12
11
11
10
12 8
1212
0
1110
0
9
9
07
1415
1416
1412
11
1212
9 1210
05
5 8 7 58 7 5
6 7 9 710 6 7
8 99
58
29
4
7 10 710
10
910
79
87
78
1012
1515
1920
19 1617
14
9
8
7 9 10 7 910 8
9
8
1110
9 10 12 9 1012 10
11
10
31
5
87
5 7 9 5 79 7
812
108
7 9 10 7 910 9
1014
16
15
0 12
12
12
9
8
8
10
10
07
7
011
10
9
33
f
ss
p
f
ss
p
f s
s
D. C. al Fine
8
11
14
12
15
0
1314
17
17
0
1014
0
8
6
9
7
10
5
57
5
5
57
7
5
8
9
11
10
12
8
534
Caprice XVI: technical break down, notes and overview
Sweep-picking Alternate-picking Bar numbers
Combination of alternate-picking and sweep-picking
Straight alternate-picking
Bars 1-50 1-5, 6 B1-B2, 8 B1-B2, 9 B1-B2, 9 B5-B6, 11, 13-15, 19-21, 23, 32 B1-B2, 34 B5-B6, 39, 50
6 B3-B6, 7, 8 B3-B6, 9 B3-B4, 10, 12, 16-18, 22, 24-31, 32 B3-B6, 33, 34 B1-B4, 35-38, 40-49
Bars 51-53 51 52-53
Technical overview
To preserve the overall flow of ‘Caprice XVI’ sweep-picking has been used wherever
possible. The resulting reduction in plectrum pressure lends sweep-picking a character
which is more in line with the smooth overall flow of the caprice.
1. Alternate picking is used where large string-skips occur, one such example can be
seen in bar 7. In this case, alternating between stationary high notes and
descending low notes creates increasingly larger string-skips.
2. Another extreme example of string-skipping occurs in bars 50 and 51. Unlike the
string-skips that occur in bar 7, a sweep-picking solution that more closely
resembles the original bowing strokes is possible. In the original, the high notes
are played under the same bow stroke. Apart from the first beat of bar 50, all the
535
536
other high notes are played with the same plectrum motion. Although this does
not give exactly the same attack of the original it more closely mimics the legato
sound than would an alternate-picking option.
Technical summary
To retain the legato sound of ‘Caprice XVI’, sweep-picking has been combined with
alternate-picking at every opportunity, provided it does not reduce the optimal plectrum
movement.
Presto
XVI
f
f
f
f
f
BEADGBE
108
78 10 11 7 10 8
78
10 9 1211
1210
15 1314
16 1215 12
3
f
f
f
f
f
f
f
14 1715 18
1617 14
16 1315 13 12 13 17 12 17 f.b.
1514
1212
1213
1516
1312
1315
f.b.13
12 1515
14
1113
14
6
f
f
f
f
1
f
f
f
f
f
f
15 1012
13
11
15 14 12
14
17 1416
15 12
15
15
13
15
11
15
15
15
14
15
15
14 1115
14
1415
1416
17 15 12
9
f
f
f
f
f
f
f
f
f
f
710
97 10
9 8 67
9
9 8 68 7 5
8
8
10
10
8
8
6
7
58
75 8
7 6 45
7
7 6
537
12
f
f
f
f
f
f
f
f
47 5 3
6
7
5
6
8
6
5
65
8
65
8 6
5 8
68
86
8 7
1110 13 18
1715 f.b.
1515
13 18
15
f
f
f
f
f
f
14 1514
1517 15 14
1415
17 15 14 17 15 14 16 15 14 17 15 14 15 1315
1213 12 14 13 12 15 13 12 13
14 12
18
f
f
f
f
f
f
15 13
12 14 13 12 15 1316
1316
1715
15 1412
15 1413
15 14 1516 14 17 15 14 16 15 13
1517 13 12 11 8
21
f
f
f
f
f
f
f
f
f
f
f.b.11
108
8
f.b.11 12 7 10 8
810
11 10
13 10 1310
13
13
13
10
13
12
13
1311
1210 12 13 9 12 10
1211
13
538
24
f
f
f
f
f
f
f
10
1011
10
10
10
7
10
8
10
8
10
10
11 10 11
8
10 9 10
7
9 8 9
8
10 9 10
6
8 7 8
5
6 5 6
27
smorzando
1110 10 13 13
13 1312 12 15 15
16
1111 11 15 15
13 1313 13 17 17
16
1112 12 15 15
13 1314 14 17 17
16
30
p
1513
1413
f.b.15
1511
1012
11
1210
1312
97
10
11 10 9 811 10 9
8 67
8 57 9 8 7 8 6
8
33
f
f
f
f
f
f
f
f
f
f
f
11
15 14 13 1216 15 14
1216 15 14
1216 15 14 13
17 15 13 1216 15 14
10
11
10
12
8
8
6
7
5
5
3
3
539
36
f
f.b.10
12 912
12
1112
10f.b.11
1010
14
12
13
11
14
10
11
13
13
11
12
10
10
8
13 1012
f.b.13
1212
1112
1011
15
39
f.b.
1315
16 1212
12 1012 9
1013 10 8 11 10
811
10 9 12 108 7 10 8 12 10
8 7 11 9 12 1110 8 11
42
10 13 11 15 8 11 10 13 6 10 8 118 12 10 14 7 10 8 12
10 13 12 15 8 12 10 1312 13
9 10 11 12 13 10
45
f
f
f
f
8
10
6
8
5
6
5
8 7
8 6 58
11 10 9 811 10 9 8
12
10
11
8
11 10 9 811 10 9 8
12
10
2
540
48
f
2
f
f
f
8
8 7 6 59 8 7 6
10
10 14
8
8 7 6 59 8 7 6
10
10 14
8
15 10
8
1011
8
1112
51
f
f
f
ff
8
1212
8
1213
8
1310
8 8 10 117 8 9 10
11
3
810
8
541
Caprice XVII: technical break down, notes and overview
Alternate-picking Bar numbers
Straight alternate-picking single note
Combination of alternate-picking and hammer-ons and pull-offs
Double and triple-stops
Bars 1-43 1-6, 19 SH 7 FH, 8 B3-B4, 10 FH, 11 B3-B5, 12 FH, 13 B3-B5, 14 B3-B5, 15 B3-B5, 16 B1-B2, B6-B8, 17 B3-B5, 18 B3-B8, 19 FH, 20 B3-B4, 20 B7-B8, 21 B3-B8, 22 B1-B4, 23 B3-B4, 24 B3-B5, 25 B3-B4, 41 FH, 42 B3-B4
7 SH, 8 B1-B2, 8 B5-B8, 9, 10 SH, 11 B1-B2, 11 B6-B9, 12 SH, 13 B1-B2, 13 B6-B8, 14 B1-B2, 14 B6-B8, 15 B1-B2, 15 B6-B8, 16 B3-B5, 17 B1-B2, 17 B6-B8, 18 B1-B2, 20 B1-B2, 20 B5-B6, 21 B1-B2, 22 B5-B8, 23 B1-B2, 23 B5-B8, 24 B1-B2, 24 B6-B8, 25 B1-B2, 25 B5-B8, 26-40, 41 SH, 42 B1-B2,42 B5-B8, 43
Technical overview
From a technical perspective, ‘Caprice XVII’ can be broken down into three specific
sections; bars 1-6, 7-26 and 27-40. In the first, section alternately-picked single-note
melody is used in conjunction with double and triple-stops. In the second, the dominant
technique is hammer-ons and pull-offs, used in conjunction with alternate-picking and, to
542
543
a lesser extent, with the ΠΠΠs commonly found on double-stopped eighth notes. The
third section consists of alternately-picked octaves.
The main theme begins in bar 7 with all the scalic patterns grouped where possible three-
notes-per-string. The original bow strokes and legato feel can be recreated to some
extent by using hammer-ons and pull-offs. This creates a contrast between the diatonic
thirty-second-note runs and the eighth notes. When playing the eighth notes with ΠΠΠs,
the palm of the plectrum hand can be rested on the strings to control the portato phrasing.
In the alternately-picked octaves starting in bar 27, the notes have been arranged three-
notes-per-string where possible to minimize linear shifts that can be cumbersome at these
speeds. To aid these shifts when they do occur the same fingering is utilized for every
pair of octaves.
1. The first notes of bars 1 and 2 consist of unison notes played on different strings.
In this case the physical restrictions of such a stretch make it easier to play the
notes where the frets are closest together.
2. Bar 20 illustrates one of the most effective ways to play chromatic scales on the
electric guitar; four notes per string, one plectrum stroke for each group of four
notes with the other three played with either hammer-ons or pull-offs.
Technical summary
There are two equally dominant techniques within ‘Caprice XVII’; the first hammer-ons
and pull-offs and the second, alternate-picking.
SostenutoXVII
1
f
BEADGBE
11 1116 16 16
141614
161412
161412
161412
161312
131312
5
111013
78
10 711
1015 11
13f.b
15 13 16 15 1315 14
1315 12
1514 12
13 12 15 1315 12
1215 12 13 12 13
15
18
11
Andante
6
h p p p p p
p p p p p p p p
10 1111
13 11131210
13121013
8
6
9
8
9
9
11
10
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
8
11
10
8
6
10
p p
p p p p p p p
h h
h hh h h h p
11 10 9 811 10 9 8
12 11 10 913
65
86
97
108
65
8 10 128 10 12
10 11 1310 11 13 15 13
65
86
108
12
p p
p p p p p p p
h h
h hh h h h p
1110
11 10 9 811 10 9 8
12 11 10 913
65
86
97
108
65
8 10 128 10 12
10 11 1310 11 13 15 13
65
86
108
544
14
p p
p p p p p p
p p
p p pp p p
65
11 10 9 811 10 9 8
12 11 10
87
98
7
6
8
5 5
11 10 9 811 10 9 8
12 11 10
87
98
7
6
16
p pp p p p p p
p p p p p p p p
8
57
9 8 7 69 8 7 6
10 9 8
65
77
59
68 5
9 8 7 69 8 7 6
10 9 8
65
76
59
18
p pp p p
p pp p p
p p p p p p
68 5
8 7 6 59 8 5
6
8 7 6 59 8 6
8
8 7 6 59 8 6 5
19
p p p p p p
p p p p p
8 7 6 59 8 7 6
8 7 6 59 8 7 10
86 10
810
1113
14 1113 10
11 810 7 10
20
2p p
p p p p p p p
p pp
p pp p p
p
8
6
8
11 10 9 811 10 9 8
12 11 10 913
6
8
10 9 8 711 10 9 8
11 10 9 8
545
21
p p p p p p p p p p p p p p p p p p p p p p p p
7
6
8
13 12 11 1014 13 12 11
14 13 12 1115 14 13 12
16 15 14 1317 16 15 14
18 17 16 159 8 7 6
108
6 9
10
22
h hh h
h p p p p p p
pp p
p pp p p
65 8
6 7 87
6 9 106 11 8 6
9 8 68 7 5
8
8
6
9
8
10
9
11
10
8
6
1115 13 11
15 13 111312 10
13 121013
8
6
9
86
5
24
h p pp p p
p p p p p p p p
Fine
8
6
9 1111 8
11 9 810 8 7
10 8
8
6
9
859
6
5
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
8
1113
12
8
6
8
27
10
12
11
13
8
10
7
9
8
10
10
12
11
13
10
12
11
13
13
1510
12
9
11
10
12
12
149
12
7
10
9
12
10
1210
13
9
12
10
137
10
8
11
7
10
8
11
10
13
12
15
8
10
12
15
12
15
13
16
12
15
13
16
12
1512
15
11
14
12
15
10
13
546
30
10
13
9
12
10
13
9
128
11
7
10
8
11
10
13
10
13
8
11
8
11
11
13
11
13
10
12
10
12
9
11
9
11
10
1212
15
10
12
11
13
8
10
7
9
8
10
10
12
11
13
10
12
11
138
10
10
12
9
11
10
127
10
9
12
7
10
9
12
10
1210
13
9
12
10
137
10
8
11
7
10
8
11
10
13
33
12
15
8
10
12
15
12
15
13
16
12
15
13
16
12
1512
15
11
14
12
15
10
1310
13
9
12
10
13
9
128
11
7
10
8
11
10
13
8
11
6
9
5
8
8
10
6
85
8
8
10
5
7
7
9
8
10 10
13
6
8
6
8
6
8
5
7
6
85
7
8
108
117
10
10
13
37
13
16
10
13
7
10
11
13
11
13
11
13
10
12
11
1310
12
13
1513
1512
15
15
18
18
21
15
18
15
17
13
15
13
15
13
15
12
14
13
1510
12
11
13
10
12
11
13
13
1510
12
9
11
10
12
12
149
12
7
10
9
12
10
1210
13
12
15
13
1610
13
12
15
10
129
12
10
13
8
10
41
h p p
p pp
p
p p p p
D.C. sin' al Fine senza replica
p p p p
10 1111 8
11 9 810 8 7
10 8
8
6
9
8
10
96
5
8
6
1115 13 11
15 13 11131210
13121013
8
6
9
86
5
8
6
547
Caprice XVIII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Double-stops and quadruple-stops
Bars 1-50
1-16 17, 19 B4-B8, 26, 28 SH, 30 SH, 35, 39-40, 42 SH, 48 SH
18, 19 B1-B3, 20-25, 27, 28 FH, 29, 30 FH, 31-34, 36-38, 41. 42 FH, 43-47, 48 FH, 49-50
Bars 51-52 52 51
Technical overview
‘Caprice XVIII’ falls logically into two discrete sections; bars 1-16 and 17 to the end.
The arrangement of the fingering in the entire first section means that it can be played in
one position. One of the big advantages of this is the fact that both hands can work
together to dampen the excess string noise. This can be more difficult when the left hand
is making linear shifts on the neck as it can create unwanted noise which the right hand
must control.
548
549
On closer analysis, bars 1-16 can be divided in two with the second eight bars being
effectively a repetition of the first eight in both melodic content and technique. Finger-
barrés are also utilized to make notes on consecutive strings that occupy the same fret
easier to play, as in bar 1.
1. When arranging double stops in the Allegro section the tuning of the guitar
creates the need for the use of finger-barrés to play the fast double-stops. Such
examples occur in bars 21, 22 and 23.
2. Bars 29-30 replicate bars 27-28 and the plectrum technique reflects this.
3. Within the Allegro section, the main theme generally consists of variations of bar
17. The octave leap followed by a scale is picked in two different ways; two
sweep-picked Πs, or alternately-picked, the subsequent notes influencing which
plectrum motif is used. Bars 35 and 36 are examples of the two variations that
occur throughout this section.
4. With the introduction of the fourths and sixths in bars 36-38 the format for the
fingerings changes slightly. The interval of a sixth in this caprice is best
performed using two fingers rather than the more obvious solution of a finger-
barré. Using two fingers allows the underside of the first finger to dampen the
unplayed string, as in this case.
Technical summary
Although sweep-picking does occur within both sections, it does so only to facilitate
efficiency in the more dominant alternate-picking technique.
Corrente
XVIII
BEADGBE
87
5
f.b8
87
57
8
5
88
75
f.b8
87
57
8
5
88
75
f.b8
87
5
6
f f
f
f
f.b
55
5
f.b
55
55
57
8
57
8
5
87
5
f.b8
87
57
8
5
88
75
f.b8
87
5
12
ff
f
f
f
Fine
78
5
88
75
f.b8
87
5
f.b
55
5
f.b
55
55
57
88
5
8
5
Allegro
17
p
10
13 12 1012 10 9
12 f.b f.b1514
1717
1615
1413
f.b1212
1010
98
1210
109
97
1210
109
87
1210
108
87
87
75
12
15 13 1214 12 10
14
20
1
1210
1513
1312
1210
f.b f.b1413
1212
1010
1412
1210
109
1412
1210
109
1312
1210
108
108
87 f.b
98
55
76
87
98
1110
1110
98
550
22
f.b f.b1212
1010
98
87
87
98
f.b98
55
76
87
f.b f.b98
1413
1413
1212
f.b1212
1010
98
87
87
98
75
87
108
119
cresc
1210
1312 10
91210
24
p
f.b1412 10
91210
1412
f.b1010
1212
1413 12
101312
10
1014
10
12
15
10
12 11 912 10 9
12
27
2
cresc
p
f.b109
1212
1110
98
1211
109
97
1210
109
1210
75
87
108 7
587
75
87
108
108
87
87
75 10
12 11 912 10 9
12
29
2
cresc
p
f.b109
1212
1110
98
1211
109
97
1210
109
1210
75
87
108 7
587
75
87
108
108
87
87
75
10
13 12 1012 10 9
12
31
f.b109
1312
1210
108
f.b1212
1010
98
76
98 17
151513
1312
1615
1413
1212
1514
1412
109
1210
f.b f.b1412 14
131212
1010
1010
1412
1514 12
101412
1413
1514
1311
551
33
cresc
f
10fr
8fr
p
3
4
1412
1210
109
1412
1210
109
1312
1210
1312
8
10
10
7
810
9
8
12
14 12 1014 12 10
14 f.b1210
1413
1212
1010
1412
1210
109
1412
1210
1412
1413
f.b109
10
10
109
1210
37
cresc
1210
109
1210
1412
f.b109
10
10
109
1210
f.b1210
109
10
10
109
109
1412 12
10109
f.b f.b1412
1210
1210
1010
1010
810
810
710
710
610
610
69
69
1112
11
10
1112
39
f
p
cresc
f.b1211
99
3
5 47 5
8 7 5 32
86
65
53
f.b76
55 5
3
76
55
87
75
53
87
75
53
87
42
p
cresc
67
58 5
7 5 47 5 4
7 54
108
87
75
f.b f.b98
77 7
5
98
f.b77
55
97
75
54
97
75
54
44
p
34
25
3
376
55
43
75
54
32
75
53
87
75
108
f.b
87 7
5
8
8
76
55
97
75
54
87
75
552
46
108
87
75
108
87 7
587 7
554
97 5
497
75
64
75 5
5
97
75
97 7
655
97 5
5
97
75
64
f.b
75
87
77
67
48
p
f.b77
76 7
10 8 69 7 6
9 75
108
87
65
f.b98
76
55
97
f.b75
1312
1210
108
f.b1212
1010
98
1210
50
cresc
fD. C. la Corrente
109
75
97
f.b109 5
5
109 7
6
f.b
76
109
10
10
109
109
97 7
6
109
f.b f.b97
75
75
55
55
810
810
710
710
610
69
67
710 7
7
46 f.b
57
5
5
553
Caprice XIX: technical break down, notes and overview
Alternate-picking Bar numbers
Straight alternately-picked single notes
Combinations of single note, double-stops, hammer-ons and pull-offs
Octaves
Bars 1-50
27-42 5-26, 43-50 1-4
Bars 51-66
51-66
Technical overview
‘Caprice XIX’, like its immediate predecessor, is divided into two major sections with the
first four bars being of little technical consequence. The main theme that starts in bar 5
utilizes continuous ΠΠΠs. This allows the palm on the right hand to retain maximum
control of the staccato phrasing, continually dampening and cutting off the notes when
necessary. In combination with the pull-off acciaccatura this helps retain the original
character of this section giving it a “bouncy” feel. The second section, which begins in
bar 27, has been arranged for straight alternate-picking. Dampening also plays an
important part in this section in maintaining the staccato and tenuto phrasing of the
original.
554
555
Within the Allegro section the double-stopped chords have been given two performing
options. The bracketed notes provide a fingering option that utilizes a smaller stretch.
The alternative, which demands a larger stretch, has the advantage of eliminating the
chance of striking the middle string that must otherwise be dampened in the bracketed
version.
Technical summary
Whether it be single note ΠΠΠs or double-stops, alternate-picking is the predominant
technique used in ‘Caprice XIX’.
Lento
XIX
Allegro assai
p
pp
p
p
f
p
p
f
BEADGBE
15
18
12
15
8
11
15
18
13
15
13
15
10
12
6
88
11
6
8
6 86 6 5 16 5 6
610
8
36
6 6 6 56 5 6
610
7
p
p
f
p
p
f
p
p
f
p
p
f
3 8
48
6 6 6 5 66 5 6
610
8
811
6 6 6 5 66 5 6
610
13
811
11 11 11 5 611 10 11
610
13
811
11 11 11 611 10 11
811
11
p
p
f
p
p
f
p p h h p
p
f
5 13
610
11 11 11 5 411 10 11
610
13
59
11 11 11 911 10 11
1014
1113
12
15 15 1315 1514 15 17
118
11 11 11 10 11
108
15
p
p
f
p
p
f
p
p
f
p
p
f
8
86
11 11 11 11 10 11
108
5
65 8 8 8 5 38 7 8
610
5
48
8 8 8 3 68 7 8
48
13
811
11 11 11 10
11 10 11
1115
556
19
p
p
f
p
p
f
p
p
f
p
p
f
p
p
f
6
13 6 58
11
11 11
811
13 5 46
10
11 11
610
13 4 859
11 11
59
11 8 69
13
10 10
913
88
11
11 5
913
8
610
11 668
713
811
11 11 11 11 10 11
68
23
p
p
f
p
p
f
p
p
f
p
6
13
811
11 11 11 611 10 11
68
16
811
15 15 15 6
15 13 15
68
20
811
18 18 18 6
18 17 18
68
9
811
8 8 8 8 68 7
27
f la prima volta, e p la seconda volta
f
88
6 58
5 68
5
8
8 6 5 6 8 5 6 58
56 5
8
5
6 58
8
6 58
8
78
58 7
8 6 5 6 58 7 8
5 6 9
30
5
85 7 8
5 7 95 7
4 5 75 7 8
88
6 58
5 68
5
8
8 6 5 6 8 5
557
32
6 58
56 5
8
5
6 58
8
6 58
8
8 9 88
8 9 8
6
8 9 8
5 58 6 5
85 6 8
5 74 5
35
6 8 65
6 8 68
6 8 6
5
6 8 6
7 8
6 85 6 8
5 7 85 7 8
6 8 10 11
6 8 65
6 8 68
6 8 6
5
6 8 6
7
38
6
8 7 58 6 5
8 6
6 58 6 5
8 7 88
6 58
5 68
5
8
8 6 5 6 8 5 6 58
56 5
8
5
6 58
8
6 58
8
41 1.
2.
p
p
f
8 9 88
8 9 8
6
8 9 8
5 58 6 5
85 6 8
5 74 5
10
8
8 8 8 5
8 7 6
610
558
44
p
p
f
p
p
f
p
p
f
p
p
f
6
13
811
11 11 11 5 8
11 10 11
610
13
913
11 11 11 11 10 11
68
13
910
11 11 11 6
11 10 11
68
13
811
11 11 11 5
11 10 11
610
48
p
p
f
p
p
f
p
p
f
ph
h
6
13
811
11 11 11 6 511 10 11
811
13
610
11 11 11 5 411 10 11
610
18
59
16 16 16 416 15 16
59
810
10 10 1010 11 13
811 11
52
p
p
f
p
p
f
p
p
f
p
p
f
11 1311 11 11 10 11
108
13
86
11 11 11 11 10 11
86
5
65 8 8 8 5 88 7 8
610
5
913
8 8 8 88 7 8
913
56
p
p
f
p
p
f
p
p
f
p
p
f
p
p
f
613
811
11 11 11 5 611 10 11
610
13 6 58
11
11 11
811
13 5 46
10
11 11
610
13 4 859
11 11
59
11 8 69
13
10 10
913
88
11
11 59
13
8
610
11
68
7
559
60
p
p
f
p
p
f
p
p
f
6 13
811
11 11 11 611 10 11
68
13
811
11 11 11 611 10 11
68
16
811
15 15 15 15 13 15
68
63
p
p
f
p
p p
f
7fr
7fr
7fr
620
811
18 18 18 518 17 18
68
25
811
23 23 23 2523 22 23 22 23
68 6
5
68 6
5
68
7
8
6
8
68
7
8
6
8
560
Caprice XX: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate picking and sweep-picking
Straight alternate-picking single note
With pedal note
Double and triple-stops
Double- handed finger- tapping
Bars 1-50
28 FH, 33 SH, 34 FH, 35, 36 FH, 40 FH, 41 FH, 42 FH, 43 FH, 44-45, 47 B5-B6, 48-50
25-27, 29-31, 32 FH, 33 FH, 37-39
1-15 16-24, 28 SH, 32 SH, 34 SH, 36 SH, 40 SH, 41 SH, 42 SH, 43 SH, 46, 47 B1-B4
1-24
Bars 51-57
51-52 53-55, 56 FH
56 SH, 57
Technical overview
From the standpoint of technique ‘Caprice XX’ divides logically into two distinct
sections. The first, bars 1-24, is characterized by a melodic line over a pedal-note
accompaniment; the second section, bar 25 to the end, utilizes a combination of
alternately-picked single-note melody with ΠΠΠs employed for the octaves.
561
562
The arrangement of the first fifteen bars takes advantage of the open D string. To retain
timbral consistency, both the pedal note and the higher melody note make use of a Π on
beat one of the bar.
Double-handed arrangement
Although the first 24 bars use traditional technique, the double-handed addition shows
how its two-part character can be more fully realized. The left-hand plays the simple
pedal tone whilst the right hand plays the melody. In bars 17 to 24, the physical stretches
dictate which hand plays the single note and which plays the double-stopped portion of
the chord.
Technical summary
Alternate-picking in combination with other techniques occupies specific sections of
‘Caprice XX’.
Allegretto XX
dolce
BEADGBE
0
7
0
8 5 77
02
10 8 7
0
8 5 77
02
7 8 10
0
12 10 9 10
5
7 10 8 7
6
5
7
5 7 5 5 10 9 8
9
f
0
7
0
8 5 77
02
10 8 7
0
8 5 77
02
7 8 10
0
12 10 9 10 707 5
77
75
6 75
70
1419
01115
01217
01318
18
Fine
01419
01115
01217
01318
01419
01620
01419
01218
01419
01115
09
10
09
10
50
7
40
5
7
07
047
056
057
059
09
709
709
709
700
12
09
10
08
9
25
f
7 6 7 95
9 7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
9 8 9 117 9 11 1011
15 14 1215
1414 18 21 26
9
11
9
11
9
11
563
29
7 6 7 95
9 7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
9 8 96 7 9
7 6 712 9
11 12 11 12 1514 19
9
12
9
12
9
12
33
10 9 1011 8
9 79
11 79
710910710
99
12
9
12
9
128 7 8 5
67 5
79 5
75
9 7 9 5 97
7
10
7
10
7
1012 11 12
15
1512 10 9 10
9
1410
38
p
f
p
f
p
121112
12
12
1211 911
10
10
11 9 8 9
8
8 79 8 9
9
9 7 6 4 6
5 97
14
17
14
17
14
17
121112
111513
13
16
13
16
13
16
11 9 11
10 1412
14
17
14
17
14
17
43
f p
p
cresc
f
p
121112
111513
13
16
13
16
13
16
f.b
11 9 1112
12 9f.bf.b
12 111212
14 10 f.b
11 9 1112
1214 f.b
12 111212
14 10 11
13
11
13
11
1310
12
10
12
10
128
10
8
10
8
108
1110
121312
564
48
119 11
10
1211
910
910
12 10 f.b97
77
109
78
79
10 9 8 119
7
98
67
78
67
51
f
f.b109
97
1210 f.b
99
1311
97
1414
1211
12
f.b14
1311
1111
7 6 7 95
9 7 6 7 95 7 9 8 9
6 89
55
D. C. al Fine
9 8 96 7 9
7 6 7 96
77 6 7 9 10 12
11
14
11
14
11
14
9
12
12
565
1
Double-handed arrangementbars 1- 24
dolce
Righthand
dolce
Lefthand
10
11
10
1214
1112
1012
14 12 11
10
1214
1112
1012
11 12 14
10
1214 13 14
10
11 14 12 11
1114 14
1114
8
R.H
L.H
79
10
1013 12 11
10
12 9 1112
1012
14 12 11
10
1214
1112
1012
11 12 14
10
1214 13 14 11
10
1114
15
R.H
f
L.H f
212
2
511 12
912
5
1419
5
1115
5
1217
5
1318
5
1419
5
1115
5
1217
5
1318
5
1419
5
1620
5
1419
5
1218
20
R.H
L.H
10
19
19
10
16
15
109
14
109
14
1510
16
1410
14
1210
12
101417
51011
51012
51014
109
12
109
12
109
12
109
12
1010
16
109
14
108
13
566
Caprice XXI: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Double-stops Quadruple-stops
Double- handed finger- tapping
Bars 1-50
36 B1, 37 B1, 40-42, 43 B1, 44, 45 B1, 46, 47 B1, 48, 49 B1-B6, 50 B1-B2, B5-B6
1-3, 12 B1-B6, 20 B1-B6, 28 B1-B6, 36 B2-B8, 37 B2-B8, 38-39, 43 B2-B8, 45 B2-B8, 47 B2-B8, 49 B7-B8, 50 B3-B4, B7-B8
4-11, 12 B7-B8, 13-19, 20 B7-B8, 21-27, 28 B7-B8, 29-35
Bars 51-58
51 B1-B2, B5-B8, 52, 53 B1, 54 B1, 55 B1, 56 B1
51 B3-B4, 53 B2-B8, 54 B2-B8, 55 B2-B8, 56, B2-B8, 57B1-B5
57 B7, 58 B1, B3, B5
54-55
Technical overview
‘Caprice XXI’ like ‘Caprice XX’ can be divided into two specific sections. Alternately-
picked double-stops dominate the first section (bars 1-35), whilst the second section uses
a combination of alternate-picking and sweep-picking.
The ossia tablature staff offers an alternative fingering for the sixth intervals that are
predominant throughout the first section. Although requiring a larger stretch, the
567
568
alternative tablature staff provides an option that eliminates the need to dampen a middle
string, allowing a “wider” vibrato to be used if desired.
The plectrum patterns that occur in the first section have been arranged so that down-
strokes coincide with the strong beats in the bar wherever possible. By manipulating the
plectrum strokes, the cadences at bars 11, 19, 27 and 35 are at their most effective.
Because all these cadences follow the same rhythmic pattern, the last triplet immediately
preceding the cadential bars begins with an up-stroke thus maintaining the same plectrum
pattern.
1. The scales in bar 28 have been arranged four-notes-per-string so that the linear
shifts necessary to play the scale can be made in small increments. Through the
use of slides, the linear shift performed by the fourth finger sliding from the third
to the fourth note on each string is more gradual and less liable to interrupt the
flow of the scale.
2. Bars 40 and 41 are root position and first inversion arpeggios that are arranged so
that each arpeggio requires no linear motion. In addition, plectrum motion has
also been optimized to take advantage of sweep-picking strengths.
Technical summary
ΠΠΠs and a combination of alternate-picking and sweep-picking are used throughout this
caprice.
XXIAmoroso
con espressione
3
711
59
59
912
912 9
127
11
913
1014 7
1159
912
912
711 9
127
1159
BEADGBE
7
6
5 5
10
7
6
5
4
5
4
9
7
9
79
7
7
6
9
8
10
97
6
10
9
9
7
9
7
7
69
7
7
6
5
4
8
811
912 7
111114
1114
912
912
912
711
711
711
610
59
711 7
1159
912
1014
1216 9
121114
1216 9
131114
76
7 979
8
6
9
77
6
11
96
5
9
7
9
7
9
7
7
6
7
6
7
6
6
5
5
4
7
67
6
5
4
9
7
10
9
12
119
7
11
9
12
119
9
11
10
76
7 979
12
3
1418
1216
1216
1114
1114
1619
1418
1115
1216
1418
1216
1114
12 14 1612 14 16
13 14 161314 16
14 16 1714 16 17 19 21 23 24
17
14
14
12
12
12
12
11
10
11
10
16
15
14
14
11
11
12
12
14
14
12
12
11
10
569
15
1114
913 11
159
14
1216
1013
1114 9
141317
1317
1115
1115
1115
914
914
914
813
712
913
1418
1216
1114
1216
1418 11
151317
1419 12
161417
1413 9 11
1416
11
10
9
911
10
9
9
12
12
10
9
11
109
9
13
12
13
12
11
10
11
10
11
10
9
9
9
9
9
9
8
8
7
7
9
9
14
14
12
12
11
10
12
12
14
1411
10
13
12
14
14
16
16
18
17
1413 9 11
1416
20
711
59
9
12 11 10 913 12 11 10
13 12 11 1014 13 12 11
15 14 13 1216 15 14 13 12
7
6
5
4
21
3 6 3
1014
913 10
149
129
127
117
11
913
913 7
116
1059
59
912
711
610
59
912
912
711 9
127
1159
59
811
912
912 7
11 69
10
9
9
810
9
9
7
9
7
7
6
7
6
9
8
9
87
6
6
5
5
4
5
4
9
7
7
6
6
5
5
4
9
7
9
7
7
69
7
7
6
5
4
5
4
8
6
9
7
9
77
66
5
570
25
1114
912
912
711
711
610
610
711
711
610
59
811
912
98
11
9
9
7
9
7
7
6
7
6
6
5
6
5
7
6
7
6
6
5
5
4
8
6
9
7
98
109
1211
1412 11
91211
1412 11
91211
77
96
76
28
1
ss
ss
s ss s
914
712
10 12 14 1512 14 16 17
14 16 17 1916 18 19 21
18 19 21 2321 22 24 26
22 24 26 28 29
10
9
9
7
7
29
3 6 3
712
611
1217
1115
1115
914
914
611
611
914
813
712
712
1115
914
813
712
610
1114
913 11
159
147
127
12
1013
1114
1114 9
141317
7
7
6
6
12
12
11
10
11
10
9
9
9
9
6
6
6
6
9
9
8
8
7
7
7
7
11
10
9
9
8
8
7
7
6
5
11
10
9
911
10
9
9
7
7
7
7
10
9
11
10
11
109
9
13
12
571
33
1317
1115
1115
914
914
813
813
914
914
813
712
1013
1114
1110
13
12
11
10
11
10
9
9
9
9
8
8
8
8
9
9
9
9
8
8
7
7
10
9
11
10
1110
1211
1413
1614 13
121414
1615 14
121514
1414
14161416
Presto
36
10
10 9 79 7 6
9 7 69 7 5
9 7 54
9 7 59 7 5
7 6 47 6 4
7 5 4 7
12 10 912 10 9
11 9 711 9 7
11 9 7
39
2
12
17 16 1417 15 14
16 14 1316 14 12
16 14f.b17 21
1919
1817
17 21
1614 19
1816
1716 19
1412 18
1614
1614 17
f.b12 1614
1413
1212 16
42
f.b
5
9 55
f.b
67
79
f.b7
9 67
7
7 46 0
14161814 16 18
16 17 1916 17 19 21 23 24
9
9 68
98
9 68
68
10 7 10 79
572
45
10
12 10 811 9 7
11 9 710 9 7
10 9 7
f.b7
7 46
76
7 46
46
8 5 8 57 9
10 9 79 7 6
9 7 69 7 5
9 7 5
48
54 7 4
f.b6
44
47
6 9 68
66
69
77
711
99
912
119
1112
10 1311
50
119
99
108 11
9
97
77
97 10
8
86
66
75 8
6
64
4 6
56
4 7
52
f.b97
76
f.b109
97
f.b12
1211
9
f.b1211
99
5
10 9 79 7 6
9 7 69 7 5
9 7 54
9 7 59 7 5
7 6 47 6 4
7 5 4
55
7fr
5fr
5fr
5fr
7
12 10 912 10 9
11 9 711 9 7
11 9 77
10 12 1410 12 14 16 17
141517141617 19 21
17192117 19 21 22 24
79
9
02
25
02
25
02
25
573
Double-handed arrangement
59
Righthand
bars 54-55
Lefthand
79
13
10121619
10121619
10121619
574
Caprice XXII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Hammer-ons and pull-offs
Double, triple and quadruple-stops
Bars 1-50
26-27, 28 FH, 30-31, 34, 36, 39 FH, 42 SH, 44 SH
25, 28 SH, 29, 32-33, 35, 37-38, 39 SH, 40-41, 42 FH, 43, 44 FH, 45-50
1-24
Ossia 40-41, 48
Technical overview
The familiar theme of dividing the caprice into two specific technical areas continues in
‘Caprice XXII’. Bars 1-24 consist of ΠΠΠs and alternately-picked double and triple-
stops. From bars 25-50 a combination of alternate-picking and sweep-picking are used.
The alternate-picking can be further divided into adjacent string motion and string-
skipping.
1 A combination of sweep-picking and alternate-picking occurring in the arpeggios
of bars 25 and 26 are mirrored exactly in bars 29 and 30.
575
576
2 The plectrum motion is reversed on the last two notes of bar 42 and again at the
end of bar 44. This reversal takes place to retain optimal plectrum motion
throughout bars 43 and 44. At the end of bar 44 two sweep-picked Vs effect the
return of the plectrum motion to its initial pattern.
Technical summary
The first half of ‘Caprice XXII’ is dominated by alternately-picked double, triple and
quadruple-stops. However, in the second half alternate-picking and sweep-picking
combinations are more prevalent.
Marcato XXII
f
BEADGBE
14
13
12
12
14
13
13 1312
1513 12
101312 10
91210
1210
108
1312
14
13
12
12
14
13
138
1010
98
76
109
97
109
108
9
p
f
1715
1513
1312
15
17
17
18
19
20
1513
1311
1110
8
10
10
12
12
13
1412
1210
109 17
19
19
20
21
22
1715
1513
1312
10
12
12
13
14
15
15
17
17
18
19
20
20
22
19
20
18
19
19
20
15
17
15
p
12
10
14
12
15
14
14
12
12
10
10
9
1312
151210
108
87
87
6
108
10756
108
86
65
658
868
1088
1412
1210
109
109
12
121012
141212
1210
1513
1312
1312
10
151315
121010
21
Minore
f
p
Fine
1
f
1312
10
151315
121010
131210
121010
119
10
121010
1312
10
58
6
5
8
7
6
5
58
8
75
3
martellato
5
10 8 69 7 6
8 7 58 7
f.b10 9 108 12
12 f.b10
1010 13 12 10
27
1
15 1214
1417 14
13 1010
10 9 7 610
911
1212
14 10 9 10 129
5
10 8 69 7 6
8 7 58 7
f.b10 9 108 12
12 f.b10
1010 13 12 10
577
31
1112
14
11 1012 10 9
12
10
1211 12 11 12
12 11 10 913 12
1013 12 10
12
10
11
10
10
10
10
10
14
10
17
15 14 15
1515
16 17 16 1717
1820
35
13
15
13
14
13
17
13
17
13
17
13
15
13 12 13
1314
14 15 14 1515
1718 8
118
10
8
8
8
8
8
8
8
11
910
913
9
11
9
9
9
12
9
13
39
2
p h p h p
p h p h p
p h p h p
p h p h p
10 9 10
109
1112 11 12
12 9 1210 9 10 9 10 9 10 9 10 9 10 10 11 10 11 10 11 10 11 10 11 10 11 10 11 15 11
1311
13
11
12
11
15
11
15
43
2
12 11 12
12
10
10
13 12 13
13
12
11
12 11 12
10
12
9
12 11 12
10
12
11 10 9 10
12
10
10
10 9 10
11
10
9
10 9 10
11
10
14
10
10
10
10
10
13
578
471.
1.
2.
2.
D. C. al Fine
p h p h p
p h p h p
10 9 10
10
10
15
10
13
15
17
15
22
10 9 10 9 10 9 10 9 10 9 10 9 10
14 12 1014 12 11
13 12 1013 12 10
579
Caprice XXIII: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Combination of single note alternate-picking and sweep-picking
Straight alternate-picking single note
Octaves and single note combinations
Double, triple and quadruple-stops with single note combinations
Double-handed finger- tapping
Bars 1-38
14-15, 36 6-13, 22, 23 B1-B6, 24, 31-33, 34, 37, 38 B1
1-5, 16-18 20-21, 23 B7, 25-30, 35, 38 B3
20-21, 23, 25-28, 35, 38
Technical overview
Although Caprice ‘XXIII’ is dominated by complex sequential ideas and their
development, it can be broken down from the technical perspective into simpler
combinations of alternate-picking. Alternate-picking combined with string-skipping,
sweep-picking, double, triple and quadruple-stops can be found within this caprice.
580
1. The chromatic scales which occurred in bars 7, 9, 11, 12 and 13 as part of the
melody have been arranged four-notes-per-string. However, unlike bars 7 and 9,
the chromatic phrases in bars 11, 12 and 13 are changing incrementally from six
to eight notes. This raises the issue of how to retain timbral consistency
throughout a constantly changing number of notes over a repeated chromatic
phrase. One of the ways to achieve this is to assign a consistent plectrum pattern
to the majority of the bar as has been done in bars 7 and 9. As the chromatic run
expands incrementally in bars 11, 12 and 13, the plectrum motion on the second
note of the chromatic scale alters. This alteration is either reversed though sweep-
picked or alternately-picked notes at the end of the bar, helping to ensure that
each chromatic run is as consistent as possible.
2. To retain optimal plectrum efficiency in bars 8 and 10 string-skipping sweep-
picks are needed in two instances. The first note of each bar is a continuation
from the Π in the previous bar. The second is a smaller skip in the middle of the
bar.
3. All the plectrum alterations in bars 20 and 21 are aimed at getting the Πs to
coincide with the chords intensifying their musical impact. However, in the last
chord in bar 21 Vs can not be avoided unless ΠΠΠs are played in a row. Given
the speed of the notes it is unlikely this could be achieved comfortably. However,
a bracketed note illustrates the preferred option.
4. Bar 26 provides an example of a situation in which the position of the proceeding
notes dictate where the subsequent notes are played. In this case, the first two
581
582
single note descending scalic patterns are the same. The second scalic run is
played in a different position to the first due to the proceeding chord.
5. Retaining an alternate-picking pattern from bars 25 to 28 results in each chord
being played by a Π.
6. Where finger-barrés are used in bar 33 the natural inclination is to sweep-pick
these two notes. Nevertheless, using alternation will optimize the plectrum
motion for the next group of notes.
7. Bar 34 requires a slight alteration at the end so as to allow the first chord in bar 35
to be played with a Π along with the remainder of the chords in that bar.
8. The beginning of bar 36 sees the plectrum strokes after the sweep-picking
arranged so the large string-skips that occur in the second half of the bar and all of
bar 37 are as convenient to play as possible. These replicate the patterns
encountered in bars 22 and 23.
Technical summary
The majority of this caprice utilizes alternate-picking as a means to execute musical
techniques such as octaves and multiple stops. However, sweep-picking is also used to a
limited extent in order to preserve plectrum efficiency.
Posato
XXIII
f
coll'ottava
1
BEADGBE
8
6
8
11
6 8 106
8
6
8
11
6 8 106
8
6
8
11
10
13
12
15
13
16
12
15
15
1810
13
8
11
13
1517
18 18 18 17 16151918 17 16
19 1817
1518
8
2
2
2
2
3 3
11
161515 13 1213
15
13 16 16 1615 141317 1615 14
17 1615
18 1610
15131311 10 11
13
11 14 14 13 12 1115 14 13 12
15
11 14
12
f
14 13 12 1115 14 13 12 11
13
11 14 14 13 12 1115 1413 12
15 14
12
14 11 10
1312
1011
101318
6
8
118
11
6 8 106
8
11
16
Minore
10fr
Fine
f
3
10fr
9fr
8fr
12
15
6 8 106 8 10
15
18
8
8
119
11 10 836
4
5
8
6
55
8 6 58
8
6
85 5
8 6 58
811
10
8
5 4 6 58 6 5
8
583
21
10fr
10fr
10fr
810
9
10 8 710 8 8
10
9
8
10 10 8 710 8 8
10
9
10
7 8 106 8 11 10 8
11 10 8
11
11 10 8
11
1012 8
10
11 10 8
11
11 10 8
11
1012 8
10
23
5
7fr
7fr
1110 8
11
811 9
8
811 9
11
3
04
3 3
10
9
8
10 8 710 8
13
12
12
15 13 1215 13
11
10
13
1013 11 10
13
13 12 1013 12 10
26
4
5fr
5fr
5fr
03
6
8 6 58 6
11
10
10
13 11 1013 11
1013
11
13 11 1013 11
12 10 812 10 8
13
1111
1111
11
10
12 10 812 10 8
13
1111
1111
11
10
12 10 812 10 8
28
13 11
1111
1111
10
1011
1011
911
911
1110
10 8 710 8
13 11 1013 11
910
584
29
decresc
811
13 11 1013 11
13 12 1013 12
1311
1110
10 8 710 8
13 11 1013
910
11
30
811
13 11 1013 11
13 12 1013 12
1311
1110
1013 12 10
13
13 11 1013
1013 12 10
11
31
cresc
1313 11 10
13 11
1013 12 10
1313 11 10
13 12
13 11 1013 12
1013 12 10
1013 11 10
9
32
8
15 13 1115
f.b
1312 10 8
12 1010
1113 11 9
1312 11
13 1011
13 1011 8
1113 9
9
33
6
8
1210
1110
f.b12
12 13 10 13 12
1210
12 9 8
12 13 10 13 1210 11
1311
10 13 1013
10
585
34
7
12
15 16 13 16 1513 15 12 15 13
15 13 1213 12 10
13 12
1213 12 10
13 12 10 913 12 10
13 12 10 911 10 8
11 10
35
7fr
7fr
4fr
12
10
13
1013 12 10
13
8
812
1013 12 10
13
11
10
13
1013 11 10
13
13 1211
13 12 10
36
8
D. C. al Fine
16
1213
1511
1315
17
8
1012
141110 8
11
1110 8
11
1012 8
10
111013
11
111013
11
1012 8
10
111013
11
131110
13
151311
15
161513
16
35
03
3
586
20
Double-handed arrangementbars 20-21
Righthand
Lefthand
81115 10 8 6
10 88
11
13
1510 8 6
10 88
111517
15 14 1615 1316 15 13 8
1014
10 8 710 8 8
101417
10 10 8 710 8 8
1014
15
12 13 1511 13 16 15 13
23 25
R.H bar 23
bars 25-28
L.H
8101417
101417
10 8 710 8
81217
10 8 710 8
11
1018
20 18 1620 18
18 17 1518 17 15
26
R.H
L.H
58
11
13 11 1013 11
11
1015
13 11 1013 11
10
816
18 16 1518 16
17 15 1317 15 13
587
27
316 11 16 11 6
5 17 15 1317 15 13 3
16 11 16 11 6
5 17 15 1317 15 13
28
R.H
L.H
8 621 16 21 16
520 16 20 16 19 16 19 16
65
15 13 1215 13
13 11 1013 11
45
35
R.H
bar 35
R.H
bar 38
L.H
L.H
71017
15 13 1215 13
81217
15 13 1215 13
11
1018
20 18 1620 18
18 17 20 18 1720
16 15 13
16
8101417
3
588
Caprice XXIV: technical break down, notes and overview
Sweep- picking
Alternate-picking Bar numbers
Sweep-picking string- skipping
Combination of alternate-picking and sweep- picking
Straight alternate-picking
Combined with hammer-ons and pull-offs
Octaves, double-stops and triple-stops
Double- handed finger-tapping
First theme 1-12
1-12
Variation 1
13-24
13-24
Variation 2
25-36
25-36
Variation 3
37-48
37-48
Variation 4 49-60
50, 54, 56, 59-60
49, 51-53, 55, 57, 58
Variation 5 61-72
61-63, 65, 67, 69, 70-71
64, 66, 68, 72
Variation 6 73-84
73-84
Variation 7 85-96
85-96
Variation 8 97-108
97-108 97-108
Variation 9 109-120
110, 112-116, 119-120
109, 111, 117-118
Variation 10
121-132
126, 128, 130-132
121-125, 127, 129
Variation 11
133-141
134, 136, 138, 140
133, 135, 137, 139, 141-142
Finale 142-158
143-146, 148-150
156-157 147, 151, 158
589
Technical overview
590
Caprice ‘XXIV’ incorporates many musical techniques that cover a wide technical spectrum,
including alternate-picking, sweep-picking, hammer-ons and pull-offs, double-handed finger-
tapping and string-skipping. In spite of this, it is arguably one of the least technically demanding
of the Caprices and probably the most often performed.
Theme
The notes are arranged so that minimum linear motion is used. This gives the right hand
maximum control over dampening and note duration whilst reducing the chance of creating
unwanted string noise.
Variation 1
This variation utilizes plectrum efficiency through sweep-picking and to a lesser extent alternate-
picking. The appoggiaturas are played with alternate-picking rather than sweep-picking in order
to encompass the most sweep-picked notes consecutively.
Variation 2
The use of chromatic notes creates some unusual fingering patterns. These are most effectively
overcome with the use of alternate-picking in combination with pull-offs.
591
Variation 3
As in a number of previous caprices, ΠΠΠs in combination with alternate-picking prove to be an
effective way to execute the octaves; the finger spacing remains consistent throughout.
Variation 4
Because of the chromatic quality of this variation the scales have been arranged four-notes-per-
string instead of the more usual three. This, in combination with sweep-picking and finger-barrés,
makes it relatively comfortable to play.
Variation 5
Because of its demanding physical nature, alternate-picking and sweep-picking in combination
with string-skipping is used in this variation. Although the rhythmic pattern remains constant for
the most part, six and seven-string skips occur in a number of bars. This makes optimal plectrum
motion the principal concern within this variation.
Variation 6
As the rhythmic structure of this variation is relatively uniform it is possible to assign a plectrum
pattern to the double-stopped rhythmic motif without placing plectrum optimization at risk.
Alternation in plectrum motion where the intervals of a tenth occur leaves the intervening strings
in need of dampening. Although the physical stretches are not large, the underside of the left-hand
fingers need to be employed to dampen any unwanted string noise.
592
Variation 7
As in numerous other occasions within the Caprices, the conjunct note sequences in this variation
are best played using hammer-ons and pull-offs. The rhythmic structure in this variation can be
grouped into three notes, a constant plectrum motif of one Π followed by a hammer-on and a pull-
off, a pattern which is maintained almost throughout. In this way, timbral continuity can be
retained and the bow strokes of the original imitated. From bars 93 to the end some extremely
demanding string-skipping in combination with hammer-ons and pull-offs are encountered. The
success of this kind of technical combination is the quick and correct positioning of the first finger
on the left-hand. This is vital if the succeeding hammer-ons and pull-offs are to be played
successfully whether they be a tone or semitone removed.
Variation 8
This variation makes use of the harmonic possibilities inherent in the violin. Because of the
extremely demanding nature of dampening strings between notes in the chord voicing, a double-
handed addition has also been added. The initial score makes use of open strings in combination
with alternate-picking wherever possible. This reduces the number of notes that have to be
fingered allowing the performer to concentrate on string dampening. The difficulty of dampening
certain strings becomes apparent in bar 102.
Double-handed arrangement
Variation 8 is the only one in ‘Caprice XXIV’ that has a double-handed arrangement which can
help combat some of the more difficult chord stretches. Moreover, the unused strings between the
593
notes of the chord can create string noise, a factor that is to a degree eliminated when arranged for
two hands.
Variation 9
Although not as extreme as Variation 1, Variation 9 calls for a similar technical approach.
However, unlike the earlier variation alternate-picking plays a more dominant role. Finger-barrés
are of equal importance in this variation due to the chord inversions used.
Variation 10
From a technical viewpoint this variation is arranged in a similar fashion to that of its predecessor,
utilizing alternate-picking in combination with sweep-picking and finger-barrés.
Variation 11
In preparation for the finale this variation is technically more extreme, making use of alternately-
picked double-stops and sweep-picking. It can be broken into two individual sections; the first
made up of alternately-picked double-stops in combination with sweep-picking and alternate-
picking single note melody. As in previous occasions, the sweep-picked single note melody is
accompanied by the use of finger-barrés to help optimize the plectrum motion.
594
595
Finale
This develops the technical elements of Variation 11, incorporating alternately-picked double-
stops and large arpeggiated strings-sweeps. As in the introduction and conclusion to ‘Caprice V’,
the arpeggios increase their range incrementally to build to a climactic point. The issue of
retaining timbral continuity throughout such a phrase requires most of the bars to utilize the same
technique. The notes have been arranged so that in bars 152-155 alternate-picking is only used to
create a maximum spread of sweep-picking or where other plectrum choices have been exhausted.
Technical summary
Each variation has its own technique or combination of techniques giving each its own sound and
timbral quality.
TemaQuasi Presto
XXIV
p
BEADGBE
7 7 7 10 9 79
7 7 11 9 77 7 7 10 9 7
9
7
14 14 14 15 14 1215 12 12 15 14 12
7
12 12 12 14 12 1014 10 10 14 12 10
109 9 12 10 9
97 7 10 9 7
8
8
7
9 79 7
5
Var. 1
13
f
108 12 8
10 54
910
12
7 45 10
8
46
7
12 810
910
12
9
7
1412
f.b
17 1214
1013
1414
16f.b
f.b1212
1010
10 13
19
1210
f.b
15 1012
8 12
1212
14f.b
1010
9 f.b
13 108
8 1212
13 10
12 8
1214 11
109
10
10812 7
8
97 10
7
5
6 7
5
596
Var. 2
25
p
p
p
p
p
87 6 7 6 7 9 107 109 8 9 8 9 7
10 9 87 6 7 6 7 9 107 109 8 9 8 9
7
29
p
p
p
p
1514 13 14 13 14 1215 14 1312 11 12 11 12 14 15 12
1312 11 12 11 12 1014 12 1110 9 10 9 10 12 14 10
33
p
p
p
p
1210 9 10 9 10 710 9
109 8 9 8 9 59 7 109 8 9 8 9
10 96 97 6 7 6 7
Var. 3
37
8
10
5
7
4
6
7
97
9
8
10
5
7
7
96
8
8
10
7
9
12
14
9
11
10
12
12
14
13
15
14
1610
12
12
14
13
15
15
1711
13
12
14
13
15
12
1412
14
10
12
12
1413
15
12
14
9
11
12
14
10
12
597
Var. 4
49
p
14
17 16 15 141817 16 1817 161817
1618
19
14
17 16 15 141817 16 1817 161817
1414
17 16 15 14181715 1417
141415
1415
17
55
12
15 14 13 1216 15 13 12 15
1212 13
1214
15
10
13 12 11 1014 13 12
14
17 16 15 1417 16 14
1514 131216 1514
16
f.b
f.b17
1717
1719
192017
Var. 5
61
10
10
8
9
7
10 9
11
8
12
9
10 10
10
8
9
7
10 9
11
8
12
9
14
18
15
17
14
14 15
14
17
15
18 13
67
12
16
13
15
12
12 13
13
16
14
17 13 15
16
14
15
13
1512
13
11
14
1213 10
13
10
12
9
12 f.b5
8
5
5
7
598
Var. 6
73
f
1312
1210
108
1210
1312
1010
99
1210
109
97
1210
119
1412
1514
1412
1210
119
1312
1211 12
14
12
13
14
15
15
17
17
19
19
21
21
22
23
24
24
25
9
10
11
12
79
8
9
10
10
12
12
8
9
10
10
12
12
8
10
10
12
12
13
9
10
10
12
12
13
10
12
9
10
10
12
9
10
7
8
10
10
12
14
13
12 7
12
101210
12
9119
12 0
Var. 7
85
p
h p h p h p h p h p h
p h p
h p
h p
h p
12 13 1213 10 12 10 12 13 12
13 14 1314 15 14
12
12 13 1213
10 12 10 12 13 1212 13 12
11 12 1112
89
h p h p h p
h p
h p
h p
h p h p h p
h p
h p
h p
12 13 1214 10 11 10
10 12 10
12 13 1213 15 13 10 12 10
10 12 1012 8 10 8
8 10 8
10 12 1012 13 12
13 15 13
599
93
h p
h p
h p h p
h p h p
h p h p
h p
h p
15 17 1513
15 17 15
13 15 1312
13 15 13
15 17 15
12 13 12
12 13 12
9 10 9 10 12 10
10 12 10
10
Var. 8
97
f
1210
0
1514
0
1412
0
1210
0
119
0
79
7
97
7
119
0
1210
0
1514
0
119
0
8
810
7
09
12
9
0
1211
0
1412
0
1614
0
1211
0
1412
0
1210
0
102
10
10
10
10
12
12
10
1013
10
10
10
810
9
8
710
8
8
7
810
9
810
9
1010
10
1210
12
810
9
10
910
10
97
10
99
10
910
8
109
7
97
5
75
5
56
108
7
11
10
10
12
10
10
12
9
9
1210
10
10
Var. 9
109
8 5
9 57
9 57 f.b
79
9
10 7
99
9
8 5
9 57
9 57 f.b f.b
79
9 99
11 7
12 910
911
12 1012
f.b
1310
1010
1012
1310
600
115
10 78
10 79
8 5f.b
78
88
910
78
12 10 910 9 7
10 9 710 8 7
10 8 710
f.b8
10
1010
1112
12 9 109
1012
10
Var. 10
121
p
1717
20 19 17 1619 17 19
1617 22 22
19 20 22 23 2417 22 22
24 21 1720
2123 19
22 20 1922
127
20 20
22 1920
f.b
13 1012
12 10 912 10
13
f.b
13 1012 10 9
912 9 10
910
12 10
1012 10
f.b
21919
2121
17
19
Var. 11
133
f
87
79
87
79
7
645
57
55
f.bf.b
9 1212
119
99 12
12 16 19 24
87
79
87
79
7
69
12
57
10
10f.b
f.b912
1212
1314
1416 12
601
137
7
7
912
9
9
912
9
9
1012
10
10
12
11
1012
f.b13 10 1312
1210
10
f.b
10 13 17 22
710
7
7
710
7
7
810
9
8
10
9
810
f.b12 8 1210
109
8f.b
8 12 15 20
10
910
10
10
910
10
8
79
8
7
6
57
142
Finale
p
6 6
66
66
6
1012
10
10
12
10
912
13
12
913
16
15
1419
f.b12
1210
910 13
f.b1211
99
9 12
f.bf.b
5 87
75
5
f.b
55
57
78 f.b
f.b5 9
77
65
f.b
55
67
79
f.b151817
1715
1415 18
17 22
147
f
p
f
6
66
6
6
9
8
7
7
7
610
10
10
913
13
9
812
12
f.bf.b
5 87
75
5
f.b
55
57
78 f.b
f.b5 9
77
65
f.b
55
67
79
f.b151817
1715
1415 18
17 22
9
8
7
7
7
610
10
10
913
13
9
812
12
152
66 7
7
f.b101412
1211
9
f.b
10911
1212
14 f.b101412
1211
910
f.b
910
911
1212
14 f.b101412
1211
910
9
f.b
12 910
911
1212
14 f.b
f.b10
9 1212
111414
1412
f.b
f.b
171214
141411
1212
14
602
156
ff
5 4 55 57
6
5
603
97
Double-handed arrangementbars 97-108
Right hand
f
Lefthand f
1210
5
1514
5
1412
5
1210
5
119
5
79
7
97
7
119
5
1210
5
1514
5
119
5
81314
71413
1214
5
1211
5
1412
5
1614
5
1211
5
5
1015
5
1217
5
1013
5
1015
1412
5
1210
5
103
R.H
L.H
81014
81215
81317
81014
810
5
1010
6
1210
8
810
5
1014
6
1014
7
1014
5
1014
6
81514
71412
51210
51011
108
12
11
1014
12
1014
12
913
121014
10
158
R.H
ff
bar 158
L.H
ff
57
1014
604
605
Conclusion
Through a systematic process of analysis and technical identification, this study has
demonstrated that Paganini’s 24 Caprices can be effectively transposed to the medium of
the electric guitar.
This thesis addresses the process of transcription by proposing techniques by which it
becomes possible to perform the Caprices and what has an impact on the way the work is
transcribed. Also investigated is how technical strategies created in the original are
adapted in transcription. All this is framed by bringing to bear a variety of perspectives
informed by electric guitar performance and technique.
Once this was satisfactorily achieved, technical identification and analysis was possible.
The electric guitar techniques used in the Caprices were categorized into three distinct
groups; sweep-picking, alternate-picking and hammer-ons and pull-offs. The latter
included finger-tapping in both single-finger and multi-fingered forms, with the method
of note generation responsible for their classification under hammer-ons and pull-offs.
The use of an analysis table allowed each technique to be correctly weighted. This
provided the depth of development necessary to cover the 24 Caprices. Alternate-
picking and sweep-picking were found to be the most prolific techniques, followed by
hammer-ons and pull-offs, with alternative techniques such as multi-finger-tapping,
chicken-picking and finger-picking technique used less frequently.
606
Analysis revealed which techniques appear in relative autonomy and which were
technically interdependent. Both alternate-picking and finger-tapping appeared in
relative autonomy whilst sweep-picking often required an alternate-picking component.
This meant that technical development of alternate-picking and sweep-picking needed to
be concurrent. Despite these overlapping technical areas it was necessary to maintain a
strict chapter division to retain a systematic and logical development methodology.
Within a logical chapter order this allowed a natural progression from the easiest to the
more difficult techniques, whilst preventing information repetition. Moreover, it
provided a smooth technical synthesis at the macro level for techniques that required the
aforementioned degree of concurrency.
Analysis also revealed that each technique could be divided into three different
subsections based on movement, single-string playing (does not apply to sweep-picking),
adjacent string motion, and string skipping motion. These movements were then applied
to both static position and linear motion on the electric guitar neck.
This progressive structure was the basis of the investigation for each chapter, from a
simple single-string static position exercise to the non-overlapping linear sweep-picked
string-skipping of ‘Caprice 1’.
Once the analysis had identified the individual micro and macro elements, a series of
contextually focused exercises was designed. These exercises targeted the individual
physical and musical techniques required to play the Caprices.
607
Although the hypothesis has been shown to be true, it is fair to say that some technical
elements require much more development than others. For example, alternate-picking is
a more “natural” technique to develop on the electric guitar when using a plectrum,
whereas double-handed finger-tapping can be a lot more problematic in both its execution
and development. Therefore the amount of time invested in the development of such
techniques can be prohibitive and depends on the individual's natural aptitude for
technical development.
Summary
The key to combating many of the technical complexities created when adapting music to
an instrument for which it was not written, especially virtuosic music such as the
Caprices, is the development of a systematic technical methodology. The methodology
ranges from transcription and analysis through to the designing of technique specific
exercises.
The far-reaching ramification for future development of electric guitar technique and its
music goes beyond the Caprices for both performers and composers.1
1 One of the main guiding principles throughout the transcription of the Caprices was efficiency and the musical result and resulting technical development were heavily dependent on this methodological factor. However, a similar methodology could be applied to the same music with different parameters, producing a variety of musical results. For example, a different musical result using the Caprices could have been achieved using non-standard tunings and a heavier emphasis on adjacent string movement. This in turn promotes larger linear motion and its associated technical solutions. Application of the same methodology and parameters to other pieces of music with similar levels of virtuosity, such as Eugene Ysaye’s 6 Violin Sonatas Opus 27, would result in different, interesting and progressive technical advancement for the electric guitar. Similarly this methodology can be applied to non-violin music, such as the Bach’s Well-tempered Clavier, which would require a quasi-pianistic approach. The greater the level of proficiency required, and the more varied the musical techniques are within the score, the more profound the resulting technical advancements become. This study provides a basis for future advancements in electric guitar technique.
Bibliography
Caprice Editions
Paganini, Nicolo (ed. Carl Flesch). 24 Capricen fur Violine Solo Opus 1. London: Peters,
1984.
Paganini, Nicolo (ed. Harold Berkley). Paganini Op.1 Twenty-Four Caprices. USA:
Schirmer, Inc., 1944.
Paganini, Nicolo (ed. Kaspars Vilnitis). Paganini. 24 Caprices for Violin. Op.1. Ebooks,
http://ebooks.ebookmall.com/title/paganini-24-caprices-for-violin-op1-paganini-
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