Jump to content

Sweep picking: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
rv unexplained text removal ... if anything I think the piano (or keyboard) is even more familiar, and it's already mentioned
 
(84 intermediate revisions by 42 users not shown)
Line 1: Line 1:
{{Short description|Guitar playing technique}}
{{Unreferenced|date=December 2009}}
{{multiple issues|
{{Refimprove|date=June 2015}}
{{Original research|article|date=January 2008}}
{{Original research|article|date=January 2008}}
{{Technical|date=September 2010}}
[[Image:Sweep picking by punkettaro.gif|thumb|Ascending (Down-Stroke) Maj VII arpeggio Sweep picked on an electric guitar.]]
}}


'''Sweep picking''' is a [[guitar picking|guitar playing technique]] in which a 'sweeping' motion of the [[plectrum|pick]] is combined with a matching [[fret]] hand technique to produce a specific series of notes which are fast and fluid in sound. Despite being commonly known as sweep ''picking'', both hands essentially perform an integral motion in unison to achieve the desired effect. It was invented and developed by [[jazz guitar]]ists [[Chuck Wayne]] and [[Tal Farlow]] in the 1940s.
'''Sweep picking''' is a [[guitar picking|guitar-playing technique]]. When sweep picking, the guitarist plays single [[musical note|notes]] on consecutive strings with a 'sweeping' motion of the [[plectrum|pick]], while using the [[fingerboard|fretting]] hand to produce a specific series of notes that are fast and fluid in sound. Both hands essentially perform an integral motion in unison to achieve the desired effect.


==History==
Another guitarist who developed the technique is [[jazz fusion]] guitarist [[Frank Gambale]], who was student and teacher at the Los Angeles Music Institute in the 1980s. He discovered the sweeping after trying to emulate piano and saxophone licks, which are impossible to play fast with regular guitar techniques. Gambale has made several books and educational videos about sweeping, the most famous of which is ''Speed Picking'' released in the early 1980s. Since then, Frank Gambale has been recognized as one of the major contributors in guitar technique.
The technique was first used and developed by [[jazz guitar]]ists [[Les Paul]], [[Chet Atkins]], [[Tal Farlow]] and [[Barney Kessel]] in the 1950s, as well as [[rock music|rock]] guitarists [[Jan Akkerman]], [[Ritchie Blackmore]] and [[Steve Hackett]] in the 1970s. In the 1980s, sweep picking became widely known for its use by [[shred guitar]]ists. [[Jazz fusion]] guitarist [[Frank Gambale]] released several books and instructional videos about the technique, of which the most well-known is ''Monster Licks & Speed Picking'' in 1988.<ref name=prasad>[[Anil Prasad|Prasad, Anil]] (2014-01-30). [http://www.guitarplayer.com/miscellaneous/1139/steve-hackett-revisits-genesis-classics/22962 "Steve Hackett Revisits Genesis' Classics"]. ''[[Guitar Player]]''. [[NewBay Media]]. Retrieved 2015-06-14.</ref><ref name=griffiths>Griffiths, Charlie (2015-03-24). [http://www.guitarworld.com/node/17113 "Big Strokes: A Beginner's Guide to Sweep Picking"]. ''[[Guitar World]]''. [[NewBay Media]]. Retrieved 2015-06-14.</ref>


==Application==
==Application==
The technique is often applied for but not limited to [[arpeggio]]s, with a common shape being the one- or two-[[octave]] stacked [[triad (music)|triad]]; or in scalar terms the first ([[tonic (music)|tonic]]), third ([[mediant]]) and fifth ([[dominant (music)|dominant]]) of a scale, played twice with an additional tonic added to the highest point in the shape. For example, an A minor stacked triad would notate as A-C-E-A-E-C-A. When these series of notes are played quickly up and down as an arpeggio, they are notably [[classical music|classical]]-sounding as opposed to more [[blues]]-based progressions. The ability to move the shape of an arpeggio up and down the fretboard for a change in key lends itself to being the primary choice of guitar players, helping ease the use of what is considered an intermediate technique of guitar performance.
Guitarists often use the technique to play [[arpeggio]]s at [[shred guitar|high speed]]. A common fretting shape is the one- or two-[[octave]] stacked [[triad (music)|triad]]. In scalar terms, this is the first ([[tonic (music)|tonic]]), third ([[mediant]]) and fifth ([[dominant (music)|dominant]]) of a scale, played twice, with an additional tonic added at the high end. For example, an A minor stacked triad is A-C-E-A-C-E-A. When the guitarist plays such a series of notes quickly up and down as an arpeggio, the phrasing sounds typical of pianos and other instruments more associated with such arpeggios. Unlike pianos, woodwinds, and many other instruments, the guitarist can change key by moving the same arpeggio shape up and down the fretboard.


Compared to other techniques often used in its basic forms by shredders, such as [[alternate picking]], few strokes are required in sweep picking. In certain instances, however, [[legato]] is used to sound notes instead of an actual pick stroke (in the case of guitar, [[hammer-on]]s and [[pull-off]]s); notably in the upper and lower sections of an arpeggio, where successive strokes on the same string in a row would effectively negate the natural sweeping motion in question. This comes into play whenever a certain string has to sound two notes in the shape due to the natural limits of a fretted string instrument.
Compared to other techniques, such as [[alternate picking]], sweep picking requires few strokes. In some instances, however, a guitarist uses [[hammer-on]]s and [[pull-off]]s to produce a [[legato]] sound instead of actual pick strokes. This applies when a certain string must sound two notes in the shape due to the natural limits of a fretted string instrument.


However, as with all guitar techniques, each individual player can seek to integrate sweep picking into their existing repertoire and make use of it in an individually stylistic manner. Therefore some guitarists may use legato whereas others may have a natural tendency to double-pick multiple notes on a single string. This in itself can be seen as separate yet related idea or technique, due to the obvious differences in the sound of legato versus struck notes, as well as the shift in the timing of the entire arpeggio. Furthering the idea, most players who master the basic sweep picking pattern will use only parts of it or alter the technique to purposefully achieve a certain [[lick (music)|lick]]. In this sense, sweep picking is not so much a concrete action such as the aforementioned [[alternate picking]], but instead is a technical idea with many possible applications.
However, as with all guitar techniques, individual players may integrate sweep picking into existing repertoire and use it in an individually stylistic manner. Therefore, some guitarists use legato techniques and others double-pick multiple notes on a single string. A guitarist may continue a sweep to the next note by [[tapping]] to play passing notes outside the classic arpeggio. Sweep picking is not limited to a few note patterns. Guitarists can construct as many patterns as there are chords, and apply sweep picking to any idea—arpeggio or otherwise. These are separate yet related techniques that produce obvious differences in legato versus struck notes, as well as shift in the timing of the entire arpeggio. Furthering the idea, most players who master the basic sweep picking pattern use only parts of it, or alter the technique to achieve a certain [[lick (music)|lick]]. In this sense, sweep picking is not so much a concrete action such as the aforementioned alternate picking, but instead is a technical idea with many possible applications in all genres of music.


==References==
==Practical examples==
{{Reflist}}
A simple example of the technique is the use of the three-string sweep arpeggio done on the upper three (thinnest) strings.


Beginning on the middle tonic of this progression, the player may sweep first up the arpeggio and then back down to [[resolution (music)|resolve]] on the initial tonic. This would notate as A-C-E-A-E-C-A. Written in [[tablature]] form for the twelfth position, it would be seen as:

e|-------12-17-12-------|
B|----13----------13----|
G|-14----------------14-|
D|----------------------|
A|----------------------|
E|----------------------|

If one then adds to it the lower octave of the arpeggio, the complete shape (in this particular position) is seen as:

e|----------------12-17-12----------------|
B|-------------13----------13-------------|
G|----------14----------------14----------|
D|-------14----------------------14-------|
A|-12-15----------------------------15-12-|
E|----------------------------------------|

In the middle of the above sequence, on the third and fourth string, there is a need to finger the same fret for both strings. By design there are more fingerings than humans have actual fingers, although both of these problems are solved by first fretting the initial string (fourth on the downstroke) with the tip of the ring finger, then rolling into the next string by fretting it with the pad of the same finger. In the returning upstroke, one frets the third string first by consequently reversing the rolling action from before. Also note that on the lowest and highest strings in the shape, two notes must be played immediately following each other, but on the same string. This is where the general use of the aforementioned application of legato comes into effect, so that a fluid picking motion is sustained.

However, the sounding of these notes in the arpeggio may be accomplished through any number of techniques, including a change in pick articulation; double-picking notes (which would then mean an additional upstroke or downstroke); legato; or in some instances [[slur (music)|sliding]], though the latter is rarely enforced due to the acute control necessary to slide to a precise point on the string.

Sweeps may even be continued to the next note via means of [[tapping]] and may facilitate the ability to play passing notes outside of the classic arpeggio sequence. Hence, sweeps should never be limited solely to the above pattern; one can choose to construct completely new and different patterns just as chords can be modified into endless combinations. Ultimately, once mastered, sweep picking can be applied to virtually any idea—arpeggio or otherwise.

The main goal in sweeping is to synchronize the left and right hand to create a sweeping motion and hit each note and then lift off.

==Guitarists known for their sweep picking technique==
<!-- This is just an example list and does not need to be overpopulated with personal favourites -->
{{MultiCol}}

*[[Alex Skolnick]]
*[[Alexi Laiho]]
*[[Alvin Lee]]
*[[Anna Calvi]]
*[[Brendon Small]]
*[[Brian May]]
*[[Buckethead]]
*[[Chris Broderick]]
*[[Chet Atkins]]
*[[Christian Münzner]]
*[[Chuck Wayne]]
*[[Corey Beaulieu]]
*[[David Shankle]]
*[[Devin Townsend]]
*[[Eric Johnson]]
*[[Frank Gambale]]
*[[Glenn Tipton]]
*[[Gus G.]]
*[[Helge Engelke]]
{{ColBreak}}
*[[Herman Li]]
*[[Jacky Vincent]]
*[[Jan Akkerman]]
*[[Jari Mäenpää]]
*[[Jason Becker]]
*[[Jeff Loomis]]
*[[Joe Gooch]]
*[[Joe Stump]]
*[[John Gallagher (Dying Fetus)|John Gallagher]]
*[[John Petrucci]]
*[[Sylosis|Josh Middleton]]
*[[Karl Logan]]
*[[Karl Sanders]]
*[[K.K. Downing]]
*[[Lori Linstruth]]
*[[Luca Turilli]]
*[[Lucas Mann]]
*[[Marty Friedman (guitarist)|Marty Friedman]]
*[[Matt Heafy]]
{{ColBreak}}
*[[Michael Angelo Batio]]
*[[Michael Romeo]]
*[[Muhammed Suiçmez]]
*[[Paul Gilbert]]
*[[Paul Ryan (guitarist)|Paul Ryan]]
*[[Paul Waggoner]]
*[[Per Nilsson (guitarist)|Per Nilsson]]
*[[Richie Kotzen]]
*[[Ritchie Blackmore]]
*[[Rusty Cooley]]
*[[Shannon Hamm]]
*[[Steve Hackett]]
*[[Synyster Gates]]
*[[Syu]]
*[[Todd Park Mohr]]
*[[Tony MacAlpine]]
*[[Uli Jon Roth]]
*[[Vinnie Moore]]
*[[Walter Giardino]]
*[[Wayde Cooper]]
*[[Yngwie Malmsteen]]
{{EndMultiCol}}
<!-- This is just an example list and does not need to be overpopulated with personal favourites -->

==External links==
* [http://www.shredguitarschool.com/arpeggio-mastery Leigh Williams]
{{Guitar picking|state=expanded|Flatpicking}}
{{Guitar picking|state=expanded|Flatpicking}}


{{DEFAULTSORT:Sweep-Picking}}
{{DEFAULTSORT:Sweep Picking}}
[[Category:Guitar performance techniques]]
[[Category:Guitar performance techniques]]

Latest revision as of 14:29, 10 September 2024

Sweep picking is a guitar-playing technique. When sweep picking, the guitarist plays single notes on consecutive strings with a 'sweeping' motion of the pick, while using the fretting hand to produce a specific series of notes that are fast and fluid in sound. Both hands essentially perform an integral motion in unison to achieve the desired effect.

History

[edit]

The technique was first used and developed by jazz guitarists Les Paul, Chet Atkins, Tal Farlow and Barney Kessel in the 1950s, as well as rock guitarists Jan Akkerman, Ritchie Blackmore and Steve Hackett in the 1970s. In the 1980s, sweep picking became widely known for its use by shred guitarists. Jazz fusion guitarist Frank Gambale released several books and instructional videos about the technique, of which the most well-known is Monster Licks & Speed Picking in 1988.[1][2]

Application

[edit]

Guitarists often use the technique to play arpeggios at high speed. A common fretting shape is the one- or two-octave stacked triad. In scalar terms, this is the first (tonic), third (mediant) and fifth (dominant) of a scale, played twice, with an additional tonic added at the high end. For example, an A minor stacked triad is A-C-E-A-C-E-A. When the guitarist plays such a series of notes quickly up and down as an arpeggio, the phrasing sounds typical of pianos and other instruments more associated with such arpeggios. Unlike pianos, woodwinds, and many other instruments, the guitarist can change key by moving the same arpeggio shape up and down the fretboard.

Compared to other techniques, such as alternate picking, sweep picking requires few strokes. In some instances, however, a guitarist uses hammer-ons and pull-offs to produce a legato sound instead of actual pick strokes. This applies when a certain string must sound two notes in the shape due to the natural limits of a fretted string instrument.

However, as with all guitar techniques, individual players may integrate sweep picking into existing repertoire and use it in an individually stylistic manner. Therefore, some guitarists use legato techniques and others double-pick multiple notes on a single string. A guitarist may continue a sweep to the next note by tapping to play passing notes outside the classic arpeggio. Sweep picking is not limited to a few note patterns. Guitarists can construct as many patterns as there are chords, and apply sweep picking to any idea—arpeggio or otherwise. These are separate yet related techniques that produce obvious differences in legato versus struck notes, as well as shift in the timing of the entire arpeggio. Furthering the idea, most players who master the basic sweep picking pattern use only parts of it, or alter the technique to achieve a certain lick. In this sense, sweep picking is not so much a concrete action such as the aforementioned alternate picking, but instead is a technical idea with many possible applications in all genres of music.

References

[edit]
  1. ^ Prasad, Anil (2014-01-30). "Steve Hackett Revisits Genesis' Classics". Guitar Player. NewBay Media. Retrieved 2015-06-14.
  2. ^ Griffiths, Charlie (2015-03-24). "Big Strokes: A Beginner's Guide to Sweep Picking". Guitar World. NewBay Media. Retrieved 2015-06-14.
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Sweep_picking&oldid=1245012783"