Descending major scale sequence in threes

Playing Technique
#1

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How would you pick this phrase, assuming you’re forced to strictly alternate pick? Legato and sweeping/economy are forbidden for this example. The rapid string changes are where I’m getting stuck (5th fret → 8th fret → 5th fret → 8th fret and 4th → 7th → 4th → 7th etc.)

This exercise is built to learn a phrase from “Stabwound” by Necrophagist. I’ve seen several different guitarists strictly alternate this phrase, so it must be possible somehow. I just can’t find a picking motion efficient enough to get this up to tempo.

#2

Tricky to play, but a good starting point would be wrist technique that has a pretty flat escape, like RDT that’s just barely DSX, and then just try to make it clean. That’ll probably involve some amount of either momentary double escape or two-way pickslanting, but I’m not sure how much that can be micromanaged. Use a form that has the potential to do whatever you’re trying to do, and then try to do it.

Also, keep in mind Muhammed probably swiped it a little. The Necrophagist recordings are immaculate, of course, but he’s still human.

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#3

So my first question would be (which is the same first question I always have surrounding transcriptions) - are you sure the fingering and string changes are correct to how he would play it? If this is an example written by someone who plays it that way, fair enough.

Second question is: If so, how important is it to you that you play it the exact same way?

Looking at it, you have to contend with two separate challenges with it if picking it like tabbed. You have to deal with both the string changes, and the rhythmic aspect.

Certainly can be done. Probably would take a good deal of work. It actually reminds me of a lick you might have seen in one of Troy Stetina’s metal mechanics books.

#4

I totally agree with @Fossegrim 's line of questioning. My first order of business is to make it so that it can be played with “pure alternate picking” (my very, VERY limited ability) and then to take it to the next level it needs to be conducive to being played fast, and trainable - so since it’s 3 notes then shift I decided to keep that all on one string for at least 4 repetitions before a string change. Less string-changes equates to less complications and tangles in position shifts etc etc.

I have included my fingering, and as well a video of me struggling with life playing it. I am not very fast and execute things somewhat like a pregnant yak crashing through a pottery shop - But you hopefully get the idea; it works on a basic level even for someone with a limited scope of ability such as I. Fun lick, I’ve never heard of Necrophagist and honestly I think I am scared to hear it hah! This sequence is a good one for LH shifting that’s for sure! I think that to play it “in position” how the original poster shared it I’d want to use a combination of Alternate, Economy/Sweep and Hybrid picking. That’s just me though! Anyways, hopefully this gives one possibility! Good luck!

descending 3's#1

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#5

You know what? I don’t think that, and who cares anyway? You are putting yourself out there, and have a smile on your face while doing it! That alone makes you a better guitar player than I will ever be.

Edit:

So if I were trying to play this purely alternate picked and trying to avoid those two awful successive outside picking string changes, I would do something like this:

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This still requires clearing the strings in both directions, so you are not fully off the hook, but it gets rid of those two trouble areas you run into by keeping it in one position like you have it. Personally I feel this flows a little better anyway. You may choose to work on those changes at some point but I think structuring it like this makes it easier to play.

Edit #2

Here is a version not using open strings and using the same concept if you don’t want the tone of the open strings. Again easier to play than the original because it avoids those 2 awful rapid outside picked transitions

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This also is easier to see what is going on with the concept. You are attacking the lick in 12 note sections using 3nps 6 note block shapes of natural minor. This is also easier because you can track the down beat of each section a little easier and lock in, and is easier to memorize because it is viewed as a repeating 12 note phrase, just starting on the different 6 note 3nps patterns of the scale we all know. While there are some shifts in both versions, they really are pretty minor ones.

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#6

@Fossegrim Both edit 1 & 2 work out beautifully for me using economy+hybrid (I guess that’s swybrid?) Mentally easier to do because the notes fall into one position. Otherwise I think it’s a DBX thing and we all just loooove that grind lol

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#7

That’s certainly part of it, but even with good DBX those outside transitions of the op’s notation are a killer in terms of getting them fast and clean. Error prone by nature. Good practice sure, but definitely an acquired skill.

I remember once upon a time thinking the opposite…

I certainly think so especially when viewing it as a 12 note phrase within six note box positions of the western scale and which always follows a predictable descending circle of 4ths box position shift - 6 note Phrygian box shape descending to the 6th note aeolian box shape descending to the 6 note dorian box and ending the phrase sliding into a strong chord tone (depending on what it’s played over). Maybe a goofy way to think about it, but maybe not so much if you are thinking purely in terms of reference points.

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#8

You could start on the B-string and stay there for 12 notes, jump up to F on the G-string and stay there for 12 notes, jump up to B on the D-string and work your way down. Sort of Yngwie-style.