German Schauss

The Lightspeeders Shred Tips

Berklee College of Music Guitar Session 2013
www.germanschauss.com
Excerpts taken from The Total Shred Guitarist Book/DVD

2013 German Schauss

4HE NEXT EXERCISE IS DESIGNED TO HELP YOU DEVELOP A

BETTER CROSS PICKING TECHNIQUE #ROSS PICKING CONSISTS OF

ALTERNATEPICKINGACROSSTHESTRINGSWITHONLYONENOTE

PERSTRING

3YNCHRONISATION!CROSSTHE3TRINGS

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4HE FOLLOWING EXAMPLE IS A VARIATION OF THE ONE ABOVE

(EREYOUSTARTOFFWITHYOURSTlNGERONTHERDSTRING
ANDDESCENDDOWNTOTHELOWESTSTRING
3YNCHRONISATION!CROSSTHE3TRINGS6ARIATION

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Finger Independence and Conditioning

)TISEXTREMELYIMPORTANTTODEVELOPlNGERINDEPENDENCE
ANDTHEABILITYTOUSEANYCOMBINATIONOFLEFT HANDlNGERS
4HElRSTEXAMPLEORSETOFEXAMPLES ISBASEDONTHE
IDEA OF USING ALL POSSIBLE lNGER COMBINATIONS 7E CAN
REFER TO THIS AS A lNGER TWISTER 4HOUGH THIS EXERCISE IS
DEMONSTRATEDBELOWASSTARTINGONTHETHFRETYOUCAN
PLAYITANYWHEREONTHEFRETBOARD4OTHERIGHTAREFOUR
COLUMNS OF NUMBERS 4HE lRST COLUMN REPRESENTS ALL
POSSIBLElNGERCOMBINATIONSSTARTINGWITHTHESTlNGER
4HESECONDCOLUMNREPRESENTSALLPOSSIBLECOMBINATIONS
STARTINGWITHTHENDlNGERETC0LAYTHECOMBINATIONh
  vACROSSTHEFRETBOARDSTARTINGONTHETHSTRINGAND
ASCENDINGTOTHESTANDTHENDESCENDINGBACKTOTHETH
3EE%XAMPLES!AND"BELOWFORTHECORRECTASCENDINGAND
DESCENDINGSEQUENCE0LAYTHROUGHALLTHEPOSSIBLElNGER
COMBINATIONSCLEANLYANDEVENLYINALLFOURCOLUMNS

 

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4HE FOLLOWING EXAMPLES ARE VARIATIONS ON THE PREVIOUS

EXERCISE)NEXAMPLES#AND$THERDANDTHlNGERS
AREMOVEDTOTHEADJACENTSTRING4HISCANVERYTRICKYBUT
ITISAGREATWAYTODEVELOPTHEINDEPENDENCEOFYOURRD
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)N%XAMPLES%AND&WEGOONESTEPFURTHERBYSKIPPING
THEADJACENTSTRING4HISREQUIRESGREATCOORDINATIONAND

   

   

  

      

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CONCENTRATION3TRIVEFORACCURACYANDAGOODCLEANSOUND
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"ELOW WE HAVE THREE NOTE ASCENDING AND DESCENDING

PATTERNS0LAYALLTHEPATTERNSUSINGSTRICTALTERNATEPICKING

 
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ANDUSEAMETRONOMETOMONITORYOURSPEEDWHILEALWAYS
STRIVINGFORACCURACY

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4HE4OTAL3HRED'UITARIST



Warm up 1

& 44 w

T
A
B

3
3

Example 2a

5 5 5 5 5 5 5 5

3
3

3
3

3
3

5 5 5 5 5 5 5 5 5 5 5 5

2d

2c

2b

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

3 4 3
3 4 3
4 3 4
4 3 4
3 4
3 4
3 4
3 4
4
3 4 3
4
3 4 3
& 1 1 1 1 1 1 1 1 1 1 1 1 43

3 3 3 3 3 3 3 3
3

2 4 5 2 4 5 2 4 5 2 4 5

5 2 4 5 4 2 5 2 4 5 4 2

2e

2f

& 43
4

1
44

11

4
4
2
2
1
1
1
1

4 2
4
4 4 2
4
2
2
2
1 1
1 3 1

2h

2g

&
1 23 4 1 43 2

1 43 3 1 43 2

1 23 4 1 43 2

1 43 3 1 43 2

3 3 3 3 3 3 3 3 3 8 3 3 8 103 12 3 8 3 3 8 103 12
2 3 5

5 3 2

5 4 2

5 3 2 3 5

5 3 2

5 4 2

5 3

9 10 12

12 10 9 10 12

13

2013 German Schauss

9 10 12

12 10 9 10 12

3 Note per String Scale Diagram

lydian

mixolydian

aeolian

( natural minor )

locrian

ionian ( major )

dorian

phrygian

Copyright 2003 ASCAP Lightspeeder Pub.

German Schauss

Hexatonic Scales
9OUAREPROBABLYWONDERINGWHATHEXATONICSCALESAREAND
HOWYOUCANUSETHEM(EXATONICSARESIX NOTESCALES
! COMMON MAJOR SCALE A SEVEN NOTE SCALE IS CALLED
A HEPTATONIC SCALE 4HESE NAMES ARE DERIVED FROM THE
'REEKWORDSFORSIXhHEXAv ANDSEVENhSEPTAv 7E
HAVEALREADYLOOKEDATANOTHER'REEK NAMEDSCALETHE
PENTATONICSCALEhPENTAvMEANSlVE 

,YDIAN

-IXOLYDIAN







)ONIAN











 









/NTHENEXTPAGEAREAFEWEXAMPLESUSINGTHEHEXATONIC
SCALESINFASTPICKINGRUNS-OREEXAMPLESONTHEAPPLICATION
OFTHISSCALEWILLBECOVEREDINOTHERCHAPTERSASWELL





 



 





























$ORIAN

 

0HRYGIAN



,OCRIAN

!EOLIAN

4HE SIX NOTE HEXATONIC SCALE IS A GREAT TOOL FOR GETTING
AROUNDTHEFRETBOARD)FYOUUSEONLYTHElRSTSIXNOTESOF
EACHOFYOURSEVENSCALEPOSITIONSYOUCANEASILYCREATE
AHEXATONICSCALE*USTREPEATTHOSESIXNOTESONEOCTAVE
HIGHERONTHE$AND'STRINGSANDTHENONEOCTAVEHIGHER
AGAINONTHE"AND%STRINGS4HERESULTISAHEXATONICSCALE
SPANNINGTHREEOCTAVES4HESESCALESAREGREATFORPLAYING
FASTASCENDINGORDESCENDINGRUNS4HEFOLLOWINGDIAGRAMS
SHOWTHESEVENHEXATONICSCALESIN#-AJOR

4HE4OTAL3HRED'UITARIST



 



Musics Phone Number

$OYOUHAVEMUSICSPHONENUMBER.O/KAYLETSTALK
ABOUTHOWYOUCANGETIT

3IMILARTOHOWWEBROKEDOWNTHEPENTATONICSCALEINTO
lVEBASICSHAPESSEEPAGE88 THEMAJORSCALECANBE
BROKENDOWNASWELL4HISRESULTSINSEVENBASICFORMS
&ORM

TWOOFWHICHLOOKTHESAMEBUTSTARTONDIFFERENTSCALE
DEGREES4HEFORMSSHOULDBEPLAYEDACCORDINGTOTHEIR
RELATIVESCALEPOSITION4HISMEANSTHATTHElRSTNOTEOF
&ORMSHOULDBETHETONICOFTHEMAJORSCALETHElRST
NOTEOF&ORMSHOULDBETHENDDEGREEOFTHEMAJOR
SCALEANDSOON
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9OU CAN USE THESE FORMS TO PLAY HORIZONTALLY UP AND
DOWNTHEFRETBOARD ORVERTICALLYACROSSTHESTRINGSIN
MOSTLY ONE POSITION  (OWEVER UNDERSTANDING THESE
BASICFORMSWILLFREEYOURPLAYINGFROMTYPICALIN POSITION
SCALEPLAYING
!SMENTIONEDABOVETHEMAJORSCALEINPARTICULARTHE
THREE NOTE PER STRING PATTERNSIS MADE UP OF THE lVE
BASICFORMSABOVE/FCOURSELIKEWEDIDWITHTHElVE
FORMSOFTHEPENTATONICSCALEWEWILLHAVETOADJUSTTHESE
FORMSWHENPLAYINGTHEMONTHE'AND"STRINGSSEE3TUDY
4IPONPAGE 
0LAYINGTHREENOTESPERSTRINGWILLMAKEYOUAUTOMATICALLY
MOVEINTHSACROSSTHESTRINGS)NOTHERWORDSASYOU
GO UP THE STRINGS THnTHnTH ETC  THE lRST NOTE ON


4HE4OTAL3HRED'UITARIST

EACHNEWSTRINGISATHAWAYFROMTHElRSTNOTEONTHE
PREVIOUSSTRING4HISMEANSYOUWILLSTAYINPOSITIONFOR
MOSTOFTHETIME4HEEXCEPTIONTOTHISRULEISTHETH
SCALEDEGREE)FWEWEREPLAYINGTHISPATTERNINTHEKEY
OF#THETHSCALEDEGREE" ISNOTAPERFECTTHITISAN
AUGMENTEDTHWHICHMEANSYOUWILLHAVETOMOVEONE
FRETUPONTHEFRETBOARDWHENYOUCROSSTHESTRINGSSEE
DIAGRAMBELOW 
)ONIAN

TH

TH

!UGMENTEDTH

All Across the Fretboard

3WEEPINGACROSSEVENMORESTRINGSCANBEQUITEDIFlCULT
BUT WITH PRACTICE AND PATIENCE YOU WILL MAKE GREAT
IMPROVEMENTS4HElRSTSTEPISTOLEARNALLTHEDIFFERENT
ARPEGGIOSHAPES4HEDIAGRAMSBELOWSHOWTHEDIFFERENT
SHAPESFORMAJORMINORDIMINISHEDANDAUGMENTEDTRIAD

ARPEGGIOSINROOTPOSITIONSTINVERSIONANDNDINVERSION

3OMEOFTHElVE STRINGSHAPESCANALSOBEEXTENDEDTO
THE LOW % STRING BUT GENERALLY THEY ARE PLAYED ON lVE
STRINGSONLY

-!*/242)!$
2OOT0OSITION

ST)NVERSION

ND)NVERSION

-)./242)!$
2OOT0OSITION

ST)NVERSION

ND)NVERSION

$)-).)3(%$42)!$
ND)NVERSION

!5'-%.4%$42)!$
ND)NVERSION

4RY TO PRACTICE THESE SHAPES SLOWLY AND ACCURATELY

&URTHERMOREPRACTICETHEARPEGGIOSBYPLAYINGTHEDIATONIC
ASCENDINGORDESCENDINGTRIADSOFALLKEYSASPREVIOUSLY
DISCUSSED

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4HE TWO EXAMPLES BELOW ARE SIMPLE SWEEP PICKING

PATTERNSTHATWILLHELPYOUWITHYOURPICKING









































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Tapping Arpeggios
5SINGTHETAPPINGTECHNIQUETOPLAYARPEGGIOSISAGREAT
WAYTOBRINGNEWSOUNDSTOYOURPLAYING,ETSSTARTWITH
THE BASIC TRIADS IN ROOT POSITION 4HE DIAGRAMS BELOW
SHOWTHEFOURBASICTRIADSMAJORMINORDIMINISHEDAND
AUGMENTED
'-AJOR

















































'-INOR

'$IMINISHED

'!UGMENTED

!SYOUCANSEETHEBASICTHREENOTESOFTHETRIADAREJUST
BEINGhCOPIEDvFROMTHE!STRINGTOTHE'STRINGTOTHE%
STRING9OUCANALSOSTARTTHESAMEARPEGGIOSONTHELOW %
STRINGANDMOVEITTOTHE$STRINGAND"STRING0RACTICE
THE DIFFERENT ARPEGGIOS AND USE THEM TO HARMONIZE ALL
MAJORMINORANDOTHERSCALES4OGETYOUSTARTEDWITH


4RACK


SOME MORE INTERESTING IDEAS AND PATTERNS BELOW ARE

SOMECOMMONARPEGGIOSEQUENCES0RACTICETHEMSLOWLY
AND MAKE SURE THAT ALL NOTES ARE PLAYED ACCURATELY AND
SOUNDCLEAN4HISlRSTEXAMPLEISANASCENDINGFOUR NOTE
SEQUENCE

4
4

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4
4
4
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7th Arpeggio Tapping

!NOTHEREXCITINGWAYTOPLAYTHARPEGGIOSISTOUSETHE
TAPPINGTECHNIQUE4HEDIAGRAMSBELOWSHOWTHEBASICTH
A
ARPEGGIOFORMSMAJORDOMINANTMINORMINOR 
ANDDIM
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'

'MIN

A
'MIN 

'DIM

0RACTICETHESESHAPESALLOVERTHEFRETBOARDANDUSETHEM
TOHARMONIZEASMANYKEYSASTHESPACEONYOURFRETBOARD
ALLOWS4HESHAPESWILLALSOWORKONTHEOTHERTHREE STRING
SET%n$n" 
4RY ALSO THE ARPEGGIO SEQUENCES DISCUSSED IN THE TRIAD
SECTIONLIKEASCENDINGTHSANDSOON
4HE4OTAL3HRED'UITARIST



Algerian Scale

Scale: C D Eb F# G Ab B
1 2 b3 #4 5 b6 7
Japanese Scale1

Scale: C D Eb G Ab
1 2 b3 5 b6
Japanese Scale 2

Scale: C D F G Ab
1 2 4 5 b6

Whole Tone Scale

Scale: C D E F# G # Bb
1 2 3 #4 #5 b7

2009 German Schauss

www.germanschauss.com