Just curious, what's your current "best?" By the way, you are an AMAZING guitarist! So, in that light, can I please ask you a question about sweep picking that's really on my mind? I'm really proficient at the Paul Gilbert string skip arpeggios, and I've been really upping my game on the sweeps. So here's the million dollar question: say someones chugging an Am chord for four beats then goes to D for four beats. So, which arpeggios go over the Am chord,,,,,,just various Am postions sweeps? And just D sweeps over D? I notice that a lot of MAB lessons (BATIO), he seems to sweep in that fashion, staying true to the underlying root chord, but doing those sweeps in different positions. However, Paul Gilbert would most often play a string skipped C major arpeggio over an Am chord. Magnus, you are a shredmaster..........what's your train of thought on what arpeggios to use over what chords? I know there are technically no rules, but seems to me the most common would be to either stay true to the root chord or to use the major third chord over a minor chord (like a C over an Am) or the major 6th over a major chord (like an Em shape over a G major chord) Am I correct in this thinking?
The best Ibanez I ever played are a stock JEM7D-BK.
It is just a next to magic copy of a guitar that sings in a very pleasant way.
It acctually so when I used it at clinics did even the audience hear that it just sounded a bit better than anything ells used. I didn't want a guitar like that, but after a couple of weeks of clinics did I just have to get it. It is so light that you think something is wrong with, that it's hollow or something. The one used here (even if it doesn't sound good there due to a shifty videocamera). http://youtu.be/dPQtlPMg8zw
With all that said, I never ever use it, just because it is ugly, and a JEM :-)
Thanks for liking my playing, makes me happy to hear it. Thanks!
To your question, I don't really play much sweeps down to the reason that I don't really love the sound of that tecnique very much. But playing over you example would I think like I always do (well, I don't really think anymore, I try to use my ears) and if it was supposed to be something on the faster side of things.
What I do are knowing where the right notes are over any given chord then I try to create melody with the contour of the lines I play tying those "right" notes together.
So inspelad of thinking, that arpeggio, a bit of that scale, this arpeggio, do I try to create a melody using the shape of the lines I play (I mean the melody you get from how the notes move over the fretboard).
The shape/contour of the lines will be built up by parts of arpeggios, scales, licks ect.
The contour can be creating just a melody building up to a new melody (let's say over a vamp over the same chord) or something that builds up a tension for the note I aim at ending the line at. Or something that builds a tension that hints what notes (and chords) that will be coming ahead.
Basically (even if it isn't that simple) trying to have a "what sound do I want" approach rather than a "what can I use theoretically". It do demand that you have been through the theory and have good ears (or shipped the theory because your ears was good enough already, I was not that lucky).
Hope that is understandable?