For these licks, I employ fretboard tapping in conjunction with string skipping to achieve a very smooth and even sound throughout. I know many guitarists prefer to use sweep picking when playing arpeggios, but to me, the sound of dragging the pick up and down across the strings is a little too abrasive and percussive.
While the Tutti Love Chorus by Donner follows the current compact-sized pedal trends, it cops the tone of a classic era of analog chorus pedals. There's no fancy bluetooth technology here; the knobs are Level, Depth and Rate. It's powered by a common BOSS-style 9-volt power supply.
Recently, I've been experimenting with five-note patterns, or quintuplets. A quintuplet is when you fit five notes where usually you'd fit four. For example, you can fit 20 16th-note quintuplets in a normal bar where you'd play five evenly spaced notes for each beat. These rhythms can be challenging, so I wanted to give you some simple exercises and licks that will help you develop a "feel" for them.
I am often asked how I incorporate chromatic notes into my solos and how I approach playing “outside” the given key center of a
song. If you have ever used the blues scale, then you have already employed chromatic notes in some of the most musical ways possible.
Today we’re going to pick things up where we left off by tackling the notes on the fourth string. And remember, we’re going to be focusing on the prime pitches — that is A, B, C, D, E, F, G — like we did with the fifth and sixth strings. I do this because I’ve learned that simplifying the notes across the fretboard can make things easier for students to master them.