Randall Padilla Copyright 2010

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To reach a level of high proficiency in the genre

of Shred, it takes the deepest of commitments, the

most serious of minds, and a depth of humility &

discipline not often seen

-Randall Padilla

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Page Topic

4 10 Warm-Up Exercises

11 - 13 Tapping/Legato Licks

14 16 Modal Arpeggios

16 20 Insane Licks

20 22 Inside / Outside Picking

23 - 31 More Insane Licks

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Ex. 1:

This first example is the very first thing that I play each morning. I play this example very slowly and methodically as well, being always mindful that if you cant play something clean slowly, then youll never be able to play it cleanly at higher speeds. Be very observant also to use STRICT economy picking on this one. By performing this example very slowly each morning, this is the very first thing that hits your mind, thereby solidifying and imprinting each modal scale pattern in your hand/head, as well as precisely defining your picking. I actually watch my right hand in this exercise and pay close attention to how wide my pick stroke is, executing as small a width pick stroke as possible. If a string is .032 of an inch wide, then in reality, my pick stroke need only ever be (ideally) plus or minus 5 or 10 hundredths of an inch over the width of the string. Think about that, dwell upon that real hard. Any form of wasted motion unequivocally diminishes your potential overall speed, because if youre wasting time in between actual pick strokes, then you are slowing yourself down for no reason at all. Paying close attention to and actually watch your right hand during each pick stroke. This will greatly benefit your development of speed. I play this twice ascending and descending; go S-L-O-W; hear each note clearly small pick strokes attention to detail.

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Ex. 2: This next example is the same as Example 1, except that the beat changes from a common eighth note subdivision to a sextuplet or six notes per beat subdivision. STRICT ECONOMY PICKING in this example as well. Remember to go slowly and accurately. You are developing and reinforcing flawless technique each time that you do this properly and slowly.

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Ex. 3: This next example is very close to example(s) 1 & 2 in its use of a sextuplet subdivision of the beat. The last 3 notes of each six note group are the first 3 notes of the next group. STRICT ALTERNATE PICKING on this one. Remember that we are practicing slowly and hearing each note individually and clearly.

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Ex. 4: This next example also uses the sextuplet subdivision of the beat. This exercise when played correctly at a slow to moderate tempo, will greatly increase your speed, dexterity, and scale memory. You should already notice that you are more easily memorizing the seven modal patterns just from practicing the first three exercise. I strongly advise the use of a metronome also, and I would start at a very slow tempo of around 55 - 65bpm. Make sure that you are playing six notes per beat with a triplet type feel to it; at higher speeds it has a see-saw/swaying type feel to each beat/six note grouping.

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Google: 26.5 notes per second and you should see a video of me playing this exact type scale exercise in C Major at a completely ridiculous speed of 265bpm. With this exercise, you can easily gauge your very own exact speed of notes per second as well; this is exactly how you can do that:

Notes per beat X BPM divided by 60 or 6 notes per beat X 117bpm = 702 notes in one minute; divide by 60 secs =

11.7 notes per second, etc., etc.

6 Notes per Beat at: 100bpm = 10 notes per second (nps) 120bpm = 12nps 130bpm = 13nps 154bpm = 15.4nps 165bpm = 16.5nps 122bpm = 12.2nps 200bpm = 20nps Etc., etc.

Ex. 5: This next example uses two Am Pentatonic patterns and right hand tapping. You could use this over a multitude of musical situations, from Blues to Rock to even Jazz. If you break each six note grouping in half, and practice each three note group slowly, youll get a feel for this technique and assimilate it much quicker. Take your time, go slowly, and whatever you do, WHATEVER YOU DO NEVER, E-V-E-R, ever rush through stuff. That is the very worst thing that you could ever possibly do in your quest for developing proper guitar technique/speed. On top of it, youll still have to go back and re-learn everything slowly and correctly- Why not just do that the first time?

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Ex. 6: This next example is in A Major and is one of my favorite legato workouts. I begin this in basically the G# Locrian pattern (Key of A Major), but once you learn the sequencing, try starting it in Dorian, or Mixolydian, etc. and even in other keys. This is just an awesome legato workout and probably the most common legato exercise that I usually recommend to my students. There are multiple benefits to nailing this exercise: great legato patterns, modal scale memorization, dexterity, speed, fretboard knowledge, timing, etc. Go slow and make sure that each note is at the same tempo, volume, and clarity. This is entirely the left hands moment to shine, but dont practice past the point of pain. If you start to feel strain on the left hand, give it a rest and shake your hand out.

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My strings are made out of steel. My frets are made out of steel. Steel rubbing against steel without any lubrication- sounds pretty silly, right?... I spray WD-40 across my strings before and after I play- my strings last so much longer, and my frets? My frets dont have divots on them where the steel strings have worn away the steel fret; my frets actually look brand new and I play on average at least 5hrs a day. No, my frets havent fell out of the fretboard nor has the wood warped, the finish hasnt been eaten away either. My slides are smoother, all playing seems smoother actually, and string noise subsides. Common sense: you dont spray the strings over your pickups, just the neck. I also put a rubber band around the neck at the first fret to dampen string noise.

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Ex. 7: The arpeggios in this section are Modal Arpeggios- all seven of them back-to-back. In the video I start at the second fret F# Locrian, and here in the TAB, I just wrote them consecutively for clarity sake starting in Ionian. So the F# Locrian in the TAB at the 14th fret would be the same fingering an octave lower at the 2nd fret (video version). Also, I used a 3-1-3 picking pattern with the first seven notes of each modal arpeggio pattern. We harmonize the Major scale (G Maj) into consecutive thirds to create diatonic chords at each scale degree, as such:

Maj Min Min Maj Maj Min Dim Root G A B C D E F# Third B C D E F G A Fifth D E F G A B C

If we were to harmonize any scale, or mode, in consecutive thirds using all seven scale tones available, we would thus be creating modal arpeggios, as such:

G Ionian G B D F# A C E A Dorian A C E G B D F#

B Phrygian B D F# A C E G C Lydian C E G B D F# A

D Mixolydian D F# A C E G B E Aeolian E G B D F# A C

F# Locrian F# A C E G B D

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Ex. 8: Understanding the structure of a Major scale, understanding the intervals at each scale degree, which triad is at each scale degree built from stacking consecutive thirds, realizing which mode is at which scale degree, THIS is the foundation for understanding music, and for this very simple and completely

undeniable FACT- Whatever style, speed, time period, difficulty, whatever music you are playing:

I T I S W R I T T E N I N A K E Y (Major or minor). Period. This exercise takes the first six notes of each modal scale pattern at each scale degree as found in a key, and links them to create this multi positional legato exercise. Go slow and make sure that each note is the same volume, tempo, and clarity. You can shift positions ascending/descending as desired once you learn how each adjoining modal fragment links.

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Ex. 9: This is another great repeating legato exercise in C Major that has multiple position shifts, cool sequencing, and can be endlessly looped. Again, practice this slowly making sure that each note has definition, volume, and clarity. Always be mindful that we are most, most concerned with QUALITY of notes rather than quantity- speed will come on its own, as a by-product of proper, correct, and accurate practicing.

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Ex. 10: This is an Am arpeggio tapping the 6th (F) at the 13th fret and using an F as a transition point to morph into an Am7th arpeggio with legato slides and position shifts. Practice this slowly; you should be growing used to approaching everything slowly at first and learning the proper muscle memory, picking, articulation, etc. Remember: QUALITY of notes before quantity.

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Ex. 11: This is an Am Extended Pentatonic lick with string skipping that can be used in a multitude of situations. In

a Major Scale:

C D E F G A B

the fourth scale degree- being a half step away from the Major 3rd of the scale- creates a minor 2nd

dissonance when played over, for example, a C Major chord. To negate this issue, the 4th scale degree is

removed from the scale. The same issue resides with the Major 7th scale degree (B)- being a half step

below the Root (C)- Therefore, scale degree(s) 4 & 7 are removed from a Major scale to create a Major

pentatonic scale. Scale degrees 2 & 6 are removed from a natural minor scale to create a minor

pentatonic scale. Divide this lick into segments and learn each proficiently and successively, adding on a

new section only after the previous is attained.

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Ex. 12: This is an Em extended pentatonic legato phrase with string skipping; I threw in a bunch of Blues type phrasing in the later half (b5), giving the phrase some character. The key to getting this, as with everything else, is to take your time, go slowly, and make sure that you are playing accurately. If you break it down and learn each group of 8 notes one at a time and then link them together, you should assimilate this phrase in short time. Also, add YOUR OWN phrasing/timing/grouping/etc. to each phrase to make it a part of YOU.

Ex. 13: This is an OUTSIDE picking exercise. Practice each 6 times accurately, making sure that you hear each note clearly and evenly. Use of a metronome MANDATORY; start slowly, you know the drill

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Ex. 14: This is an INSIDE picking exercise, which I find personally a lot faster as we are not required to move the pick that much. When you practice these short drills, actually WATCH your right hand and deliberately shorten the width of each pick stroke. Wasted motion equals a slower rate of notes per second. As well as practicing these 6 times each and repeating, etc., you should also practice these in short, super fast bursts, like practicing each as fast as you possibly can, accurately; 3 times - stop repeat.

Ex. 15: This is an OUTSIDE picking exercise which is probably the most awkward of those presented here. I think that it goes without stating, that you are using your left-hand pinky when you play. I meet so many new students that almost shun from using the pinky-(?) Use your pinky if youre not already, take your time, be accurate- Repeat!

FACT: You will be playing in a Key, everything you play over will be in a key. A key is defined

per scale degree as: Maj min min Maj Maj min Dim-

FACT: Therefore, you will have 3 Maj [I; IV; V] and 3 min [II; III; VI] options to choose from at

any given time within a given key center. By options, I mean specifically: mode/arpeggio/modal arpeggio option to choose from.

It would probably be wise then to have a few great Maj & min phrases/ideas on hand, ready to build off of in any melodic situation you always have 3 Maj/min options in any key center

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Ex. 16: This is an OUTSIDE picking exercise that combines two sextuplet sequence patterns.

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Ex. 17: This is an INSIDE picking exercise that is pretty much the opposite of Ex. 16.

Ex. 18: This is an OUTSIDE picking exercise that climbs chromatically up the neck. Outside picking examples are predominantly the most common picking situations youll find yourself with. Being aware of your OUTSIDE/INSIDE picking can help simplify difficult passages: Try INSIDE picking and see what happens

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Ex. 19: This is a loopy type pentatonic phrase that I often play. When we think about it, there is a genre of music that is wholly concerned with emotion and emotional playing: The Blues. Period, Full Stop. Being cognizant of that much, it would be prudent to become familiar with Blues phrasing and have a couple great, emotional Blues phrases to have on hand when needed. This example is based in the trusty old Box 1 minor Pentatonic in Am, so its easy to find.

Ex. 20: A pedal point lick in Am; strict alternate picking throughout. Try accenting the first note of each grouping.

Every key has an equal Parallel Key, i.e.: C Major vs. C minor; E minor/E Major, etc. The chords are so closely related per scale degree, usually a mere half step difference here or there, that we can substitute one for another! Use your ear to guide you harmonically, heres what Modal Interchange looks like:

Major Key Center

Maj min min Maj Maj min Dim C E G D F A E G B F A C G B D A C E B D F

Minor Key Center

C Eb G D F Ab Eb G Bb F Ab C G Bb D Ab C Eb Bb D F min Dim Maj min min Maj Maj

Substitute freely scale degree-per-scale degree, i.e. the IV Maj/IVmin; I Maj/Imin; VImin/bVIMaj; etc. This expands our options for each key that we play over. You just doubled your harmonic/melodic options available per scale degree.

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Ex. 21: I think of this as a reverse pedal point in that the melody ascends higher through the A Harmonic minor scale than the pedal tone(s) of A-G#-A. Strict alternate picking throughout.

Ex. 22: When we think about it, most of our soloing stays within a consecutive Major or minor second type format, whether our melody or improv is ascending or descending. What I mean by that, is if we look at the majority of guitar solos, licks, phrases, etc., they are for the most part comprised of consecutive Major or minor seconds. This is because we learn scales as patterns, not melodies. Thus, if we incorporate wider interval distances in our soloing, we IMMEDIATELY are confronted with: Hey, that sounded way cool This phrase deliberately injects wider intervals into a descending run, coupled with legato slides and position shifts, this phrase will get some attention & turn some heads when pulled out in the middle of a solo. Remember: music is about melodic ideas and expressing them emotionally.

If you play a sour/bad note, deliberately play it again like 3 or 4 more times. Accent it,

really lay into it. You may be surprised about the outcome

If you do play a sour/bad note, bar dip with the tremolo bar a half step into the correct or intended pitch that you missed. You have to do this with the utmost grace on the bar manipulation, with finesse, as if you are sighing, letting out a breath I actually do let out a breath when bar dipping- it feels much smoother, natural. Try it.

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Ex. 23: This is an Am7 arpeggio with legato slides; I end this on the leading tone of G#. When I play this, I think of this broken down as two sweeps.

Ex. 24: An F Lydian arpeggio using the 3-1-3 concept of picking: 3 notes picked, one note, 3 notes picked; a common grouping and easy to navigate.

VERY IMPORTANT!: Write, type, make yourself a little poster, etc.- but do this:

In large bold letters, centered on the page, write out 3 positive affirmations about your playing that are

in the present, as if they are actually true, what you would want to be true about your playing, i.e.:

My playing is very accurate and precise;

My playing is emotional and very tasty;

My playing is PHENOMENAL! Read those 3 positive affirmations to yourself every day, 3 or 15 times a day, have them on the wall in

your practice area, and make sure that you are constantly looking at and reading those three positive

sentences that you come up with, your very own personal 3 positive affirmations. The mind will begin

to believe what you tell it after a while, and be like: Oh?.. Ok. My playing IS accurate and fast

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Ex. 25: Diminished 7th run beginning on G#. Pay attention to the picking indications as believe me: I have tried every possible angle on how to play these runs the easiest, so trust me on the picking indications! The trick for me in playing diminished 7th runs is looking a minor third above or below the tone that I am on. A minor third is equivalent to 4 frets. Also, because the diminished seventh chord is an equal subdivision of the chromatic scale into four equal parts, therefore, any tone can be the root. Going a bit further, if any of the four chord tones can be a possible root, then there are really only a total of three diminished seventh chords in all of music! Check this out

1 A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A

1 1 1 1 1

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A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A

2 2 2 2

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A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A

3 3 3 3

It is clear by the chart above that there are only three diminished seventh chords available when we divide the chromatic scale into four equal parts, also with any of the four chord tones being a possible root. This is all due to the fact that the diminished seventh chord is an equal subdivision of the chromatic scale into four equal parts.

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Ex. 26: This is an ascending Am arpeggio with 16th note subdivision (4 notes per beat). Pay strict attention to the picking indications on this one. Perhaps out of all the examples presented, there is no more a picking indication as important than in this example. You have to start s lo w in order to play this at high speeds accurately. The four note per beat subdivision is the trick here and nailing it is simple if you merely take your time and go slow, practicing it accurately & clearly. You want to hear each note and not just a muffled thump, but the actual clear note. Its not an easy task by any means, but the more you practice it correctly and slowly, the easier it will get, and clearer as well.

Ex. 27: This is an 80s sounding tapping lick- it sounds much harder than it actually is to play! The trick to this one is to pay attention to the right hand tapping notes and position.

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Ex. 28: Another 16th note subdivision, ascending A minor arpeggio. This one is no joke, and once past the 12th fret, things get really hairy! Again, the trick to doing this cleanly and accurately is to practice slowly. I tap my foot on the down beat of each grouping, and use an upstroke pick to start the grouping off. Maintaining the timing of each grouping is the real focus here and will only come through disciplined focus and paying attention to detail (read as: practice slowly). We ALWAYS want QUALITY of notes over quanity. The amount of notes means NOTHING if they are not cleanly executed.

Ex. 29: Sweep picking arpeggios through A minor in consecutive 4th interval sequencing. When I first learned this lick, I broke each six note group into two triplets, and I played it very, very slowly, watching my right hand especially and making sure that I wasnt bouncing the pick off of the strings. You want that downward sweep to be one motion- not individual bounces/pick attacks, but one fluid sweep, a strum almost. I angle the pick just as I would a paint brush when sweeping, exactly as if I was painting and the pick was a little paint brush. Take your time, make sure the notes are even and clear. QUALITY of notes before quantity.

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Ex. 30: This is the same as Ex. 29 except that I use seven note subdivision and right hand tapping, which will be the root of each arpeggio and thus, easy to find. Again, take your time with this stuff and make sure that each note is clear and distinguishable.

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Ex. 31: Our last phrase is an E Major arpeggio-fest and one of my favorite Dominant-to-Diminished type ideas. Since the V chord is all about tension, and so is the VIIdim in any key- Why not add them together and just have a bunch of drama? =] By adding one note in the arpeggio (D; b7th at 10th fret), we can easily transform a simple sounding Major triad arpeggio into a full dominant 7th.

I initially play the Dominant 7th arpeggio with tapping, and then on descending and re-ascending through the arpeggio, I morph it into a Diminished 7th arpeggio for full tension. That is what music is all about, tension to resolution to tension to resulotion, etc., a circle if you will

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I hope that each of you have benefitted tremendously from this writing! Thank You! -Randall Padilla