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michaelangelobatio

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Time to Burn with Michael Angelo Batio: Applying Sweep Picking to Chord Progressions, Part 2 — Video

Last month, I introduced the concept of applying different sweep-picked arpeggio shapes to a series of chords within a repeating progression. This month, I’d like to expand our view to a greater variety of sweep-picked shapes, as well as a more complex, ambitious chord progression.

Time to Burn with Michael Angelo Batio: Applying Sweep Picking to Chord Progressions — Video

As useful as sweep picking can be for playing an ascending or descending arpeggio over a single chord, developing the ability to seamlessly transition from one arpeggio shape to another within a lead phrase will greatly aid in one’s complete understanding and ultimate mastery of the technique.

Time to Burn with Michael Angelo Batio: More on Developing Proper Sweep Picking Technique — Video

It has become a huge part of my playing style, and I’m always looking for new and different ways to incorporate sweep picking into musical ideas I come up with. Last month, I detailed the basic mechanics of the technique, and now I’d like to further demonstrate its proper execution.

Time to Burn with Michael Angelo Batio: Getting Started with Proper Sweep Picking Technique — Video

Hello again, Guitar World readers. It’s nice to be back! I’d like to begin this new series of columns by talking about getting started with sweep picking, which is a very useful and exciting technique that I often use to perform fast arpeggio-based licks and runs.

Time to Burn: Applying Modes to Different Tonal Centers

When working on writing melodies for my original compositions, my standard approach is to examine the chord progression in order to determine which scales or modes would best apply. A mode is the notes of scale, such as the major scale, oriented around a different root note and chord; Modes offer great flexibility in terms of the way they relate to a set of chords within relative keys.

Time to Burn: Phrasing Arpeggios Over a Chord Progression

One of my favorite things to do is take a classically flavored chord progression, like the one shown in FIGURE 1, and use it in a rock guitar context. This particular progression is based for the most part on what is known as the cycle of fourths, in that the root note of each of the first five chords is the interval of a fourth above the previous root note.