TOSIN

ABASI

THE UNDISPUTED
MASTER OF THE
SEVEN- & EIGHTSTRING GUITAR
REVEALS HIS PLAYING
AND PRACTICING
SECRETS!

JIMMY HUBBARD

PROG
GNOSIS

CONTENTS
1 animal instinct

Getting a feel for picking

techniques with the track
Somnarium

2 economies of scale

Making effective use of economy

picking, and how I play my solos
in Somnarium

3 INTER-PLANETARY
EXPLORATION

How to play the outro guitar

solo in Earth Departure

Tosin Abasi
performs with
progressivemetal act
Animals as
Leaders. They
have released
two albums:
Animals as
Leaders and,
Weightless,
available on
Prosthetic
Records.

4 double up

Double picking, and the first solo

in An Infinite Regression

5 thumbs up

How to play the thumb-slapped

intro to An Infinite Regression

6 lucky sevens

Making odd meters feel natural,

and how to play Cylindrical Sea

7 six sense

Playing in 6/4, and the hybridpicked arpeggios in David

8 six of Another

More on playing in 6/4 meter, and

how I perform the hybrid-picked
arpeggios in David, part 2

9 voicing opinions

Devising chord voicings on

the eight-string guitar

10 turn on the heat

Effective ways to warm up

both hands

11 rollercoaster ride
Seven-string arpeggios

12 two-hand touch

Examining the two-hand tapping

and odd-meter phrasing in
Isolated Incidents

13 connect the dots

Analyzing the harmonized melody

lines in Isolated Incidents

JIMMY HUBBARD

animal instinct

chapter

Getting a feel for picking techniques

with the track Somnarium
Eight-string guitar arranged for seven-string guitar

Eight-string
guitar arranged for seven-string guitar
FIGURE 1
Amaj7
Fig.
1
FIGURE 1
w/hybrid
Amaj7 picking
let ring throughout

w/hybrid picking
let 5ring throughout
3
5

6
9

Emaj7
8

7
8

FIGURE 2

11

11 9

11 9
C7sus
8

11 9

Fig.
FIGURE
33

11

12 11

11

Emaj9
12w/hybrid picking7

11

12

11

12 11

7 6

10

11

4 0

12

6 4

10

7 6
6

higher to lower strings. Notice also the inclusion of a

single bar of 3/4 in bar 5 alongside a basic 4/4 feel.
The riff in FIGURE 2 follows immediately on the
heels of FIGURE 1, entering at 0:29 seconds into the
track. I use the same approach but shift from Af major
to Af minor. Using a similar motif but transforming it
to a different tonality is a great way to expand on any
musical idea. This figure is again performed with a
combination of hybrid and economy picking.

4 3
4

3
4

Am(maj7)

4 3

9
0

5
5

Amaj7

10

10

4 3

5
5

Asus2

10

11
Amaj7

4 0
Asus2

10

11

12

7
8

Amaj9(+5) 8

6 4

8
9

87

Am(maj7)
6

11

6
Bmaj9
6

11

9 8 6

Bmaj9

11

10

Am7 4 2
4
4w/hybrid picking

Amaj9(+5)

10

11 9

35

Dm 9 8 6 6

11 12 8

w/hybrid picking

Am7
w/hybrid picking

0
FIGURE 3
4

Emaj9

7 Dm

11 12 8

Fig. 2
FIGURE
2
11

Bmaj7

C7sus

89

4
Emaj7

Bmaj7

Hello everyone and

welcome to Prog-Gnosis, my
Guitar World instructional
DVD. Over these 13 lessons, Ill be
demonstrating some of the techniques
and approaches I rely on in the writing
and performing of the music I play with
my band, Animals as Leaders. Hopefully,
you will find these ideas useful in your
own musical endeavors.
Id like to begin with a look at some
excerpts from the song Somnarium,
from the Animals as Leaders album
Weightless. The majority of the music I
play with the group is performed on an
eight-string guitar, tuned (low to high) E
B E A D G B E. In the examples included
here, the parts have been arranged for
seven-string guitar (low to high, B E A D
G B E). If you have only a six-string, fear
not, as only one notethe low Af at the
beginning of bar 6 of FIGURE 1is played
on the seventh string. On a six-string, this
note can be played at the fourth fret on
the sixth string, though a quick shift up to
ninth position will be necessary to play the
notes that follow.
The opening riff to this song was
written as an etude that I could use to
practice my hybrid pickingthe pick-hand
technique that combines flatpicking and
fingerpicking. Throughout bars 15 of
FIGURE 1, I pick the lowest note of each
figure with the pick and follow it with
fingerpicking, using my middle finger,
ring finger and pinkie to sound the notes
on the higher strings. Youll find some
challenging pick-hand movement through
this section as well as nice harmony as you
shift from one chord form to the next.
In bar 6, outlining the Afmaj9(+5)
chord, I switch to alternating between a
flatpicked and a fingerpicked note, and
then I wrap up the phrase in bars 8 and 9
with a combination of alternate (downup) and economy picking. Economy picking, also known as rest-stroke picking,
entails the use of the same pick direction
when moving from string to string. In bar
8, there are two areas where three consecutive notes are performed by playing
one note at a time on successively lower
adjacent strings. This also occurs on two
strings in bar 9. For these notes, I use consecutive upstrokes when moving from

4 3
4

The last riff included here, illustrated in FIGURE 3,

begins at 1:39, and I consider it to be the hook of the
song in that it is repeated many times. Harmonically,
I begin by moving maj9 voicings down the neck,
but I wrap it up with a slight twist, incorporating
m(maj7). Also, the rhythmic syncopation of the figure
causes it to sound like the beat is turning around with
each successive phrase, but, in fact, I think of it as
alternating bars of 4/4 and 3/4.

economies of scale

chapter

Making effective use of economy picking,

and how I play my solos in Somnarium
In this chapter, Ill show
you what I play for two of the
solo sections in Somnarium.
These solos are played over the parts
illustrated in the previous chapter.
The majority of the music I play with
AAL is performed on an eight-string guitar,
tuned (low to high) E B E A D G B E. In
the examples included here, the parts have
been arranged for seven-string guitar (low
to high, B E A D G B E). If you have only
a six-string, the great majority of what is
written here can be played on it. FIGURE 2,
for example, depicts my primary solo on
the song, and there is only one note that is
played on the seventh string.
FIGURE 1 is an arpeggio-based
pattern that I play over the chorus of
Somnarium, specifically the part that
switches repeatedly from 4/4 to 3/4
(and which may also be thought of as
consecutive bars of 7/4). The pattern
moves harmonically from Emaj9 to Bmaj9
to Afm/maj7. I begin over Emaj9 with
straight descending arpeggio figures that
are played in groups of steady 16th notes.
By the second half of beat two in bar 1,
Ive switched to a long ascending line that
is performed using economy picking. Bar
3 is again split between arpeggios and
ascending figures, followed in bar 4 by a
long descending arpeggio across the first
through the seventh strings.
The descending arpeggios used to start
this riff are executed with reverse sweeps,
as the pick is dragged in an upward
motion from higher to lower strings. I
then use economy picking to play the
subsequent ascending line. Economy
picking is best described as a technique
wherein the same pick direction is used
to sound notes on adjacent strings: when
moving from a lower to a higher string,
the last note on the lower string and the
first note on the higher string are each
picked with a downstroke. When moving
from a higher to lower string, consecutive
upstrokes are used in a similar manner.
Ive found the technique invaluable for
performing challenging figures with speed
and precision.
FIGURE 2 illustrates the main solo,
which is played over the songs opening
and primaryrhythm part. I use arpeggios
along with linear excursions, and I
stick closely to the Afmaj7-Bmaj7-Emaj7C7sus4-Afmaj9+5-Dfm chord progression.
Every lick sits squarely over the
accompanying chord. Starting in bar 6, I
incorporate a double-picking technique,
wherein each note is picked twice within
a steady rhythm of 16th notes.

Fig. 11 Eight-string gtr. arr. for seven-string gtr. (low to high, B E A D G B E)

FIGURE
Bmaj9
FIGURE Emaj9
1 Eight-string gtr. arr. for seven-string
gtr. (low to high, B E A D G B E)

Bmaj9


12 14 11 12

16 18 19 16

12 11 12 11 14 11 12 11 13

16 18
16
13
16 18 19
13 14 16 18 15

13 14 16
15 16 18
11
11 14 13 14 16
13
13 14 16 18
13

13 14
16
14 13 14 16

Am/maj7

Am/maj7

18
18

16
16
16

18 16 16 15 17
18 16 16 15 17
15 16 18
15 17 18
16

18 14 16 18
18 14 13
16 15
15 16 18
16 15
15
17
15 17 18
17

16 12 11
18 14 16 18
18 14 13
Emaj9

12 11

15

FIGURE 2
Fig.Amaj7
2
FIGURE
2

12 13
Amaj7
12 13

11
11

12 10

12

12 10

12

11
11

17

16
18

13 18

17

Bmaj7

16

15

15

12 13

12

12 13

12

Emaj9
3
12
14 12 11
Emaj9
14 12 11 9
12

14 12 11

14 12 11 9

11 9

11 9

Amaj9(+5)
Amaj9(+5)

16
17 17
18 18 17 17 18 18 16
17 17
16 16 18 18 19 19 17 17 18 18 16 16 17 17 17 17
19 19

13
13

12
15

11 12 13 13

15

11

C7sus4
C7sus4

10
10

11 9
11 9

16 16
16 16

16 16
16 16

8
8

17 17
17 17

23 21

21

212018
212018

8
Amaj9(+5)
8

Amaj9(+5)
8

99
99

11
11

14

13

14

13

10

20 20

21 21
21 21

23 23 24 24 21 23
23 23 24 24 21 23

Amaj7
Amaj7

15 12 12 13 10
16

13
16 16

18
18 182019 161819 16 1918 15 15 12 12 13 10
21181920
16 16
13

2019
161819
1918 15

Bmaj7
Emaj9
C7sus4

18

10 8 !
10

10 8 !
10

10

11 12 14

13

20 20

16 16

Dm
23 21
Dm
21

Bmaj7 11
11 12 14 11
13

18

13 18

16 12 11

21181920

18

18

18

18

8 12

8 10 11 8 10 11 8 12
8 10 11

11 12 14
11 12

10 11

14 11 14 15 15 14 13 12 11

Dm
Dm
11
9

9
9 10

10

10

10

9
9 11
11

C7sus4
15 14 13 12 11 9 11 8

Emaj9 14 14 11 14 15

Bmaj7

10
10

11 9
7 11
7 11

8
8

6
6

9
9

9 8
9 8

6
6

6
6 7
7

9 11 8

6 4

7 6 !
6
6 4

7 6 !
6
3

INTER-PLANETARY EXPLORATION

chapter

How to play the outro guitar solo

in Earth Departure
Earth Departure is
one of the most adventurous
tunes on the Animals as Leaders
album Weightless. The song features some
very intense, complex figures that require
extremely tight band interplay. To my
way of thinking, much of the song is in
straight 4/4 time, but it doesnt sound
like it because many of the rhythms are
based on unusual 16th-note syncopations
and odd-length phrases. In this chapter,
Ill analyze the songs outro guitar solo,
which is one of my favorite solos on the
record.
As you know, the majority of the
music I play with AAL is performed
on an eight-string guitar, tuned (low to
high) E B E A D G B E. In the example
included here, the solo has been
arranged for seven-string guitar (B E A D
G B E), but a six-string will work just as
well, as there is only one notethe first
note of beat four in bar 6that is played
on the seventh string.
FIGURE 1 illustrates the entire 14bar outro solo. Tonally, the solo revolves
around an E major/Cs minor axis, but
there are a few other elements thrown in
that shake up the harmonic environment.
I begin the solo by playing over a quick
B5-A chord change, followed by E, starting with an eighth-note triplet line based
on A melodic minor (A B C D E Fs Gs).
When I get to the E chord, I switch to the
E major scale (E Fs Gs A B Cs Ds), which,
when played over the subsequent Csm
chord in bar 3, can also be analyzed as Cs
Aeolian, or Cs natural minor (Cs Ds E Fs
Gs A B). Notice the staggered-sounding
dotted-eighth-/16th-note rhythm of the
solo lines in bars 24.
Bar 4 switches to 2/4 time, followed
by a single bar of 3/4, a bar of 4/4, two
bars of 3/4 and another bar of 2/4. The
solo then concludes with five bars of 4/4.
In bar 5, I play a short line over Bfm,
followed by a descending line, primarily
performed with pull-offs and finger
slides, played over A but based on the
E Lydian mode (E Fs Gs As B Cs Ds).
At the end of this bar, I begin a series
of ascending sweeps based on the Bf
minor pentatonic scale (Bf Df Ef F Af),
performed by dragging the pick across
the strings in a single downstroke.

Eight-string guitar arranged for seven-string guitar (low to high, B E A D G B E)

Eight-string
guitar arranged for seven-string guitar (low to high, B E A D G B E)
FIGURE
Fig. 11 Earth Departure outro solo (4:29-4:50)
Eight-string
guitarDeparture
arranged for
seven-string
guitar (low to high, B
E AC#m
D G B E) E
FIGURE B5
1 Earth
solo (4:29-4:50)
Am
Eoutro
D#5
Eight-string
guitar
arranged
for
seven-string
guitar
(low
to
high,
B
E
A
D G B E) E
1
FIGURE
1
Earth
Departure
outro
solo
(4:29-4:50)
B5 Am
E 14 14 11 11
D#5
C#m
for
12
9 B
9 11
11
Eight-string
guitar
arranged
seven-string
guitar
(low
to
high,
E
A
DG
FIGURE
1
Earth
Departure
outro
solo
(4:29-4:50)
1
12
13
14
9
12
12
9 B9 E)
7E
B5 Am 13 14
E 14 14 11 11
C#m
12
9 D#5
9 11 11
14
1
FIGURE
1
Earth
Departure
outro
solo
(4:29-4:50)
12
13
14
9
12
12
9
9
7E
14
Eight-string
guitar
arranged
for
seven-string
guitar
(low
to
high,
B
E
A
D
G
B
E)
B5 Am
E 14 14 11 11
C#m
12
9 D#5
9 11 11
14
12 14 15 13 14
1
12
13
14
9
12
12
9
9
7E
Eight-string
guitar
arranged
for
seven-string
guitar
(low
to
high,
B
E
A
D
G
B
E)
14
B5
Am
E
D#5
C#m
FIGURE 12
1 14
Earth
Departure
12outro
14 solo
14 (4:29-4:50)
11 11
9 9 11 11
14
14
15 13
1
12
13
14
9
12
12
9
9
7
14
FIGURE 12
1 14
Earth
Departure
12
14 solo
14 (4:29-4:50)
11 11
9 D#5
9 11 11
B5
Am 13
Eoutro
C#m
E
14
14
15

AA

A
3
3
12 13
14
9 12 12
9 9 7

1
E
D#5
C#m
12B5143 Am15Am14
13 14
14
9 12 12 9 9 11 11 9 9 7
E A
3 12 14 14 11A 11
E 3 Bm
14
14
12
13
14

12 14 14 11A 11
9 9 11 11

127 143 Am15 14E 133 14Bm
3 14
12 13
14
9 12 12
9 9 7

13
14
14
11
3
3
3
12
14
15

Am
E
Bm
A
10 14
10 13 9
8

4
7

11
11
10
11
11
9
8
15 E 3
3 Am
127 14
11Bm103 11 10 13 9 A8 11 9 8 11 9 7 6 9 7 5 6 9 6 81311
10
4

11

Am
E
A8

10
13 9
11 9 7 6
11 6 813

4
11 3 11Bm1033 11 10
11 9 8
11
9 7 5 6 9

77 33 Am

10 E 3
10
13
9
8
A 11
11 9 7 6
11 6 8 13
Bm105:4

11 11
11
3 9 8
5
9 7 5 6 9 6 11
4

10
10
13
9
8
11 9 7 6
A 11
Am 11
E
Bm105:4
11 6 8 13
11
11
3 9 8
5
9 7 5 6 9 6 11

4
7

Bm
G#
11 9 7 6
11 6 8 13
10
Bm

10 13 9 8 3
5
9 7 5 6
9 6
11
11 9 8
111113 105:4

7
11 6 8 13 11
7 1011

10 13 9 G#
8 3
5:4
11
9
7
6
5
6
11 11 10 16
11 14 13 13
11

Bm
G#11149 8
9 7 5 6
9

7
14
11
9
7
6
6
8
13
5:4
11 9 6 8
8 10 15 11 13 16 14 13 13G#3 14 13 515 13

9 7
5 6
9
7 Bm 14
1311
11

11
13
16
14
13
13

5:4
8
10
15
9
8

5
G#3
7 Bm
13 15 13
13 9 66 8 11
8 10 15 14 11 13 5:416 14 13 13G#3 14

7 Bm 14
14 13 515 13
13 9 8 11
11 13 16 14 13
13
Bm
8 10 15

3
14
G# 14 13 15 13
6
13 9 38 11
7
8 10 15 6 F#m

11 13 16 14
13
13
3
13
15
13
C#m

13 9 38 1611 19
710
14
14
11 13 16 14
13
13

8 10 156 F#m

3
3
C#m
14
14 13 15 13
13
11
10
14

8 10 156 F#m
9

38 16 19
3
13
C#m
13
15
13
13
11
10

14
11
11 13
99 11 69 12F#m9 12 9 113 12 C#m
13 3 16 19
9 11 14
11 14
11 14

10
14
11
11 13
14
16 19
13
11
9
9
11
9
11
14
11
14
11
14
F#m
C#m

3
3
10
14
6 12 9 12
9
11
11 13
12
14
13 3 16 19
11
9
9
11
9
11
14
11
14
11
14
3
3 12 C#m
3
14 3
F#m39 12
9 3 6 12
11 3
11 313
14 3
10
13
11
9 F#m3
9 11
9 11
14
11
14
11
14
16 19
C#m

3
3
3
3
3
3
B5
A
G#
F#m
C#m
9
11
11
13
9 12
12
14
10
14 3
9
11
9
11
14
11
14
11
14
19
B5 9 11A3 9 12
13 16
39 12
3 12
3 G# 14 F#m
3
3
3 C#m
3
12
11 113 14 11 313 13 14 3
3 9 113 9 113 14G# 11

12
3 14
9
13
B5 9 11
A3
F#m
C#m
11

11 113 14 1112 11
13 12

12
9
12
12
14
11

12
17
12
12 9 11

11
9 18 3
9
14
11
14
3 19
3
3
3
3
B5
A
G#
F#m
C#m
13314 11
11
12
11

16
13
13
11
11
11
13
12

189 1612 12 1212

14

12 17
19
12

16
14 13 14
13314 11
B5
A
G#
F#m
C#m
11
12
11

16
18
13
13
11
11
11
13

3 3
3
3
3
3
3
12

12 17
12
12

16 19
18 16
14 13 14
13314 11
11
12
11

3
3
3
3
3
3
3
16
18
13
13
11
11
11
13

B5
A
G#
F#m
C#m
12 12
12 17
12
16 19
18 16
14 13 14
11 12
11

16 A
18
13 13
11 11
11
13

B5
G#
F#m
C#m
135 14 11
3 16 19
18 18 16 12 12 13 13 11 11 14 13 14 11 135 12
12 17 16
13 14 5 12 11 12 11 135 14 11
3 16 A18 16 12 12

14

12

14 17 16 19 18 A
11 13
11
13 13 11 11
3
5 1112 11
14
12 11 135 14
14 17 1616 19 18 A18 16 12 12 13 13 11 11 14 13 1412
11
13
14
11

3
5
5
11
14

13

14 14 1116 10 A18 16
9
11 1414 13 1412 5
3
5
11
14

10 11A 12 9 12 11 9 11 14 13 12

14 14 11
11 14

13

5
11
11

3
5

14
12
14 11 10
9
11 14
12
9
12
11
14
A
13
11
11
3

13 125 5 5
5
5
10
14 14 11
A 12 9 12 11 9 11 14
11
11 14
105 11 12 9 12 115 9 11 14

5
14 14 11
12
11 14
13
5
5
5
12
9
12
12
14 11 10
9
11 14
13 5

5
5
11
11
14 11 10
9
11
14
12
9
12
8
8
8
8
8
8
8

5
5
5

11

12

12

11
5

5
5

5
5

double up

chapter

Double picking, and the first solo

in An Infinite Regression
in This chapter, Id
like to talk about a cool, useful
technique I sometimes use
called double picking, which involves
repeating each note in a melody twice
using alternate (down-up) picking. A
good example of this technique can
be found in the first solo I play in An
Infinite Regression, from Weightless
(see FIGURE 1).
I begin over an Fsm chord and play an
Fssus2 arpeggio across bars 1 and 2, sticking with a rhythm of straight 16th notes
while double-picking each different note.
This creates a melody-within-a-melody
effect, as your ear hears a slower eighthnote idea within the 16th-note rhythm,
almost as if you were tremolo picking.
In bars 3 and 4, I change the fretboard
shape slightly to acknowledge the underlying D chord, with brief use of the sharp
four, Gs, which I immediately resolve up
a half step, to A, the fifth of D. I use the
same approach in bars 5 and 6 over Bm,
but here I truncate the idea by starting
on the B root note on the A strings 14th
fret before moving down and then back
up again.
Across bars 7 and 8, I play a quick
descending-ascending line over the five
(V) chord, Cs, using notes from the Cs
Phrygian-dominant mode (Cs D Es Fs
Gs A B), which is the fifth mode of Fs
harmonic minor (Fs Gs A B Cs D Es).
I switch to much simpler and more
melodic lines in bars 914, outlining the
same Fsm-D-Bm chord progression of
bars 16. At bar 15, however, I play a fast
Cs Phrygian-dominant descending line
again, using 16th-note triplets, quintuplets
and 16th notes.
The solo wraps up with a restatement
of the melodic approach of bars 914,
but at bar 21, I introduce a new chord to
the progression, Ef, which affords a shift
in harmonic content to what is already a
shifty harmonic environment. I finish
up in bars 31 and 32 with straight eighth
notes and use descending fourths to
outline the B-to-Cs chordal movement.
Overall, this is a challenging solo to
play up to speed, so I encourage you to
take it one bar at a time and gradually
work it up to tempo. Once you have the
shapes down, youll find that its not as
difficult to play as it may seem.

Eight-string
guitar
arranged
forfor
seven-string
guitar
(low
toto
high,
BB
EE
AA
DD
GG
BB
Eight-string
guitar
arranged
seven-string
guitar
(low
high,
Eight-string
guitar
arranged
for
seven-string
guitar
(low
to
high,
B E)
EE)A D G B E)
FIGURE
1 1An
Infinite
Regression
first
solo
atat
1:13)
FIGURE
An
Infinite
Regression
first
solo(beginning
(beginning
1:13)
Fig.

FIGURE
1 An Infinite Regression first solo (beginning
at 1:13)
F#m
DD
F#m

11

1919
1919
2121
2222
1919
1919 1919
1919
2121
2222
2121
1818
1818
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1818
1818 1818
1818
1919
1919
1919
1919
1919
2121
2222
1818
1818
1919
1919
1818
1818
1919
1919

2121
2121
1818
1818
1818
1919
1919
2121
191919192121
1818
1818
1919
1919
2121

F#m

19 19

44

77

BmBm

2121

2222
2222
2222
2222
1919
1919
1919
1919
1919
1919
1919

22 22

2121
2121

19 19

22 22
19 19

Bm

1111
1111
1111
1111
1414
1414
1414
1414
1414
1414
1414
1414

19 19

19

14 14

C#C#

14 14

14 14

11 11

1414
1414
1212
1212
1212
1212
1111
1111

1111
1111

1414
1414

14 14

11 11

11 11

11 11

14 13

15

1010

D
16 12D11

1616
13131414151516161717

15
BmBm
11
12
16

13

21!
21211919 !
19!
21
19
14 10 9 10 14 1919!
18!
18
!

1515 17171717

15

10

16
C#C#
13 14 15 16 17
1515

1919
2121
2222

18
!

17 17

2222

19 21 22

21
!

F#m

13

14 14

1919
2222
1919
2222

Bm
19

12 12

14141414

14 14

13 13 13

13

14 14

14 14
F#m
F#m

1313
1313
1414
1414
1414
1414
1313
1313
1313
1313
1515
1515
C#
1616
1212
1111
1111
1212
1616
13
13
13
13
13
1414
10109 9 1010
1414

14

12 12

21 19

19
!

22

22 19 22

19

2222
2121
1919
2222
2121
1919
1818
1919
1818
1919
1818
1616
1919
1818
1919
1818
1616 1515
171716161414
1717161614141313
151514141212

C#

15
1717

3 3

3 3

3 3

22 21 19
F#m
F#m 22 21 19 18

1313 11111111

1111

3 3

13
11 11

7 7
11

2929
11

24

1313

11 11

11

13
!

11111111

1/2

9
!

9 9

1313

12 12

BB

!!
F#m

13131111
9 9 1111

F#m
F#m

11

E
11

!!

111313

29

9 9 9 9

EE

1/21/2

17 16 14 13

12121212

F#m

2424

17

EE
Bm

Bm

19 18
19 18 16 15

17
16
14
9 99 9 !
7!
10!
8!
7
10 10101010 !
8
7 7 6 66 6
!

9!
9
!

11 11

5 5

DD
1/21/2
19 18 19 18 16

13 11 9

13

Bm
D D E
1/2

14!
14141212
12!
14
12
!
10 10!

14141414

12 12

7
!

10
!

10 10

C#C#

8
!

11 11

11
!

14 14

B
9

10

12

11

11

12 10

C#
9

(etc.)
(etc.)

9 9
1010 1212
9 9
D
9 9 1111
9 9
1111
9 9
121111
149 9 8 8 14
1212

13

15 14 12

12 11 9

6 6

12
!

(etc.)

thumbs up

chapter

How to play the thumb-slapped

intro to An Infinite Regression
Eight-string
guitar
arranged
for seven-string
guitar (lowguitar
to high,(low
B E AtoDhigh,
G B E)B
Eight-string
guitar
arranged
for seven-string

FIGURE
Fig.1 1

FIGUREF#5
1

D5

D5
+

9 9 9 9

F#5
+
*
7* +
10 10 10 10 10

D5
+
2 *4 4
6

Gsus2

10 10 10

10 10 10

12 12
8

10 10 10

12 12

15 15
11

13 13 13

Bm

10 10 10

Gmaj7

12 12

Bsus2

+*

Bsus2

13 13

10 10 10

13 13 13

Bm
+

11 11

999

12 12

Bsus2
9

12 12

11 11

Bsus2

11 11

12 12

* +

Bm*

10 10 10

Gmaj7

11

Gmaj7

7 9
*

11 11 11

Gsus2
*

10 10 10

116 11

Gsus2

12 12

13 13

11 11 11 13 13 11
9 9 13 139
7 9 9 912 12 7 9 9 9119 11
13 13 13

Bm
E(sus2)

15 159
9 13 9
13 13
11
117

14 14
12 12
10 12 12 12 10 12 12 12
10 10 10

Gmaj7

E(sus2) *

Gsus2
D(sus2)
*

14 14
1211
12 11

12
12
12
12
12
12

910 9 9
10

11 11 11

* +

F#(sus2)

D(sus2)

11 11

4 4 4

5 5 5 5 5 D5
+
*

2
4 4 4 4 4
* 5 +5 5 5 5

+
*
2+

FIGURE 3

2F#(sus2)
5 5 5 5 5 +

*
*
6

3 39
Fig.
FIGURE

4 4
4 4 4 F#5

2
+
*

5 5 5 5 5

D5
+
*
6

9 9 9 9 9

9 9 9 9 9

D5

Fig. 2 2
FIGURE

F#5 * +

2 4 4 4 4 4

*

1010
10 10 10

F#5 *

FIGURE 2
* w/pick-hand thumb
F#5 *
+
w/pick-hand index and middle fingers
+ fingerpick

D5

1010 10 10 10

7
* w/pick-hand
thumb
+ fingerpick w/pick-hand index and middle fingers

69

E A D G B E)

D5

F#5 *

9 9 9 9 9
7 1010 10 10 10

+
(play 3 times)
(play 3 times)

F#5
*

in This chapter, Ill show

how I play the intro to An
Infinite Regression, the opening
track from Weightless. This part features
a very unusual and unique doublethumbing technique that, I believe,
was pioneered by the great jazz bassist
Victor Wooten. As usual, all of the licks
in this chapter are arranged for sevenstring guitar (low to high, B E A D G B E),
though I play the part on an eight-string.
For this intro, I use my pick-hand
thumb to sound consecutive notes with
a downstroke followed by an upstroke,
after which I use the index and middle
fingers for fingerpicking. Along with
the fret-hand tapping that initiates each
phrase, the combination of these different
techniques lets you devise cool, rhythmically complex and deceptive-sounding
riffs like this one.
First, Ill illustrate the basic technique
I use to play the intro lick in An Infinite
Regression. As shown in FIGURE 1, I
begin with an Fs root-fifth shape, which I
hammer on with my fret hands index and
ring fingers on the seventh and ninth frets
of the low B and E strings, respectively.
This is followed by the previously mentioned downstroke and upstroke with the
pick-hand thumb, sounding the third and
fourth notes in the phrase, followed by
the pick-hand index and middle fingers
sounding the fifth and sixth notes. In bar
2 of FIGURE 1, I use the same technique
but switch to the notes E and D, played
on the seventh fret of the A string and the
10th fret of the low E string, respectively.
Many of you do not own seven-string
guitars, so Id like to show you how to
play this lick on a six-string, as illustrated
in FIGURE 2. On a six-string, begin with
a hammer-on to the low E strings second
fret, followed by a hammer-on to the
fourth fret of the A string. In bar 2, I move
over to the second fret of the D string and
the fifth fret of the A string. The lighter
gauge and thinner tone of these higher
strings hinders the power of the lick when
played on a six-string guitar, so I suggest
picking up a seven-string (or, even better,
an eight-string!) to play this tune, as it will
sound heavier and more authentic.
Now lets get to the riff that comes in
at 0:17, as shown in FIGURE 3. Instead
of playing the riffs as sextuplets (six-note
figures) as I had done in FIGURES 1 and
2, I play it as straight 16th notes, which
results in a two against three rhythmic
feel, with two different melodic shapes
consisting of six evenly spaced 16th notes
falling across three beats.

999

11 11

11 11

lucky sevens

chapter

Making odd meters feel natural,

and how to play Cylindrical Sea
A signature element in
the songwriting techniques I use
with Animals as Leaders is the
incorporation of unusual time signatures,
also known as odd meters. In the quest
for fresh-sounding new music, we will
often superimpose different meters and/
or syncopations on top of one another,
a technique explored to great extent by
many of todays progressive rock and metal
bands, such as Periphery, Dillinger Escape
Plan and, of course, Meshuggah.
A good example is the song, Cylindrical Sea, from Weightless. As many of you
know, Im a huge Allan Holdsworth fan,
and the sound and approach I use on this
song are influenced by him.
For all of the chapters up to this point,
I have arranged my eight-string guitar
work for seven-string guitar, as few of
you have eight-string instruments. When
possible, I have also arranged the parts
for the universally accepted six-string.
In covering Cylindrical Sea in this lesson, however, I have written the parts
for both eight- and six-string guitar, as
the use of the low eighth string, tuned
to an E note an octave below the sixth
string, is essential to performing these
parts correctly.
Illustrated in FIGURE 1, the intro consists of a melodic line played on the fifth
and fourth strings, supplemented by low
root notes on the eighth string. I play this
part fingerstyle, using my thumb to sound
the lowest notes and my index, middle
and ring fingers for the melodic content
played on the higher strings. Throughout
this section, all notes are allowed to ring
as long as possible. Be sure to keep the
fingers of both hands properly arched so
that clarity is maintained as you move
from one chord voicing to the next.
As mentioned, this part is easily
adaptable to six-string guitar, as Ive
done in FIGURE 2. All of the notes fretted or sounded on the eighth string have
been moved to the sixth string, which
is tuned to E but one octave higher.
Playing the low root notes on the sixth
string makes the fretting slightly more
difficult because it requires more careful
and precise fingering to avoid accidental
muting of notes.
The intro continues with the riff
shown in FIGURE 3, again arranged for
six-string guitar. This section begins the
same as FIGURE 1, but then moves back
to the tonic, Em, followed by different
resolutions from Cmaj7s11, first by E/Gs
and then E major.
The last figure in this chapter utilizes

Eight-string guitar (low to high, E B E A D G B E)

Eight-string
guitar (low to high, E B E A D G B E)
FIGURE
Eight-string
E B E A D G B E)
Fig. Cmaj7(#11)
11 guitar (low to high,
Amaj7(#11)
E5
FIGURE
1
Eight-string
E BB EEAADDGGBBE)E) E5
Eight-string
guitar(low
(lowto
to high,
high,
E
FIGURE
1 ringguitar
let
throughout
Cmaj7(#11)
Amaj7(#11)
Cmaj7(#11)
Amaj7(#11)
fingerstyle
FIGURE
let
throughout
FIGURE
1 1ringguitar
Eight-string
(low to high, E B E A D G B E) E5
let
ring throughout
Cmaj7(#11)
Amaj7(#11)
E5E5
Cmaj7(#11)
Amaj7(#11)
fingerstyle
FIGURE
1 let
1
1
ringthroughout
throughout
fingerstyle
let
ring

E5

2
2 0

2
2
0 0
Cmaj7(#11)5 5 Amaj7(#11) E52 2 2 0 00G 0

0 0
9
5
2
9
5
5 7 9
1 3 5
Cmaj7(#11)
8
8 9 8 9
4
4 5 1
4 5
0 20
0 G 0
5 7ring
9 throughout
1 3 5 1
0

8
4E5
0
8
4
4
0

5 Amaj7(#11)
5
2E7sus40 0Em7
G

85 let
8 9
fingerstyle
87 9
8 9
4
0
Esus2
0 00
5 4 5 0
2 0 G 0
1 3 5 4
12 0 Esus2
8
4 E5 0
8
8
4
4
0 0 G 0 Em7
Cmaj7(#11)
Amaj7(#11)
E7sus4
Cmaj7(#11)
1
1
12
11
1 2 E5 0 7 E7sus4
Em7 Esus2
Esus2
14
7 E7sus4
7 9 5 98 5 5 9 85 1Amaj7(#11)
0
Amaj7(#11)

0 G Em7
012
0 12
Cmaj7(#11)

58Cmaj7(#11)
3 45
5
5 4 E5
2 2

E7sus4
Em7
Esus2
15
7
12
2
1 3 15
12 11
5 7 59 59 9Amaj7(#11)
5 E5
2
1212
0 7 7
1
1
12
11
Cmaj7(#11)
11
5
9 8
9 4 Amaj7(#11)
1 3 54 1 5
5 0 E50 2 7 E7sus4
12 Em7
8 7 9 8
4 1
0
0
0
Esus2
12
0
11
58 578 7 9 9 558 5 989 5585 989 141 334 55 14 554 14 5 54 2 22020 2 0 770 77G 0 0 1212 012
12
12
0
FIGURE
5 27 six-string
9
9 version
9 1 3 5 1 5 1 5
2
7
12
11 0
8 Cmaj7(#11)
Cmaj7(#11)
Amaj7(#11)
88
88 4
0 0 0E7sus40
0
0
8
4
44
44 E5
0 2
0
5
5
7 0Em7 012Esus2

Amaj7(#11)
E5
5 7 9
9
9
1 3 5
5
5
2
120
8 2 six-string
8
8
4
4
4
0
0
0
0
FIGURE
version

1
1
8 Cmaj7(#11)
2 0 E507 7 012 12 011 0
FIGURE
six-string
version
Fig.
22 2six-string
FIGURE
version
5
5
41 3Amaj7(#11)

5 7 98 5 9 8 5
9
5 4 51 4 51
2
2 E5
2 G 2
2
2
!
FIGURECmaj7(#11)
six-string
Amaj7(#11)
52 Cmaj7(#11)
7 9
9version
9
1 Amaj7(#11)
3 5
5
5
2E5
Cmaj7(#11)

8
8
8
4
4
4
0
0

8
8
8
4
4
4
0
0
0
0
Amaj7(#11)
E5

FIGURE
2
six-string
version

5 7 9 55 9 55 9 1 3 5 11 5 1 1 5 2 2 2 2 22 G 2 2 !22 0 2
!
Cmaj7(#11)
G 2 G 2 Esus2
Amaj7(#11)
E5
FIGURE
1
1
2
2
2
!

52 six-string
7 9 5
9 5
1
8
8 9
4 3 5
4 5
45
02
0 Em7
Amaj7(#11)
1 3 5 4
5 4 E5 5 0 E7sus4
20
87 9
8 9version
8 9
4

8585Cmaj7(#11)
5
5
1
1
2
2
2
8
8
4
4
4
0
0 2 G 2 12
!

Cmaj7(#11)
Amaj7(#11)
7 9
9
9
1 3 5
5
5 E5 7 2

!
8Cmaj7(#11)
8
8
4 1
4
42 E5 2
0 7 E7sus4
0 122 122 Em7 11

1
2
2
Amaj7(#11)
Esus2
55
5 5
11
G

Amaj7(#11)
E5
E7sus4
Em7
Esus2

55 Cmaj7(#11)
7
9
9
9
1
3
5
5
5
2

7 9
9
9
1 3 5
5
5
2
8Cmaj7(#11)
E5 0
E7sus4
4 4
4
8
8 8 5 8 85 4 Amaj7(#11)
414
0 02 2 Em7
0 2 Esus2
012

10 02
2 11
!
12

7
12
G
5 7 9
1 3 5
12 Em7
Esus2
Cmaj7(#11)
52 E5
12
5 8 95 8 9 Amaj7(#11)
1 4 15 4
2 0 2 7 0E7sus4
12 11

8
4
7 7
12
7
12
11
5 57 7 9 9 5 99 5 99 1
3 55 1 55 1 5 5
2

1
3
2
FIGURE
3Cmaj7(#11)
12
58
5
1
1
2 0 0 E7sus4
7 0
12 0 Esus2
Amaj7(#11)
Em7
8 8
8
8
4
4
0
0
E5
4 3 5 44
0 11
7 0E/G# 12 0
5 7 9
9 8 9
1
5 4
5 0
2
Cmaj7(#11)
Em Amaj7(#11)
Cmaj7(#11)
5
5
1
1
2
7 0Em7 12Esus2
8 Cmaj7(#11)
8
8
4
4
4
0
0
0 12
0
E5
E7sus4

FIGURE
3585 3 77 99 5 58 995 58 994 7141 533 455 14 55 14 55 205 22 075 7 74 0712 6124 1212011 11 0
FIGURE
Em
E/G# 7 06 4
Em
E/G#
FIGURE
7Cmaj7(#11)
29 0
538Cmaj7(#11)
7 9
714 5 1 4 5 Cmaj7(#11)
9 0 79
895
895
4
0 12
0
3Cmaj7(#11)
9 0 Em
1 3 5
5 7 58 Cmaj7(#11)
28
83 5 7 89
89
8
4

Fig.
Cmaj7(#11)
E/G#0
FIGURE
8
8
4
4
4
0
0
0
0

4 4
44
Em
Cmaj7(#11)
Cmaj7(#11)
7 55 44
5 5 5 5
7E/G#
67 4 6 4
55
55
FIGURE
3
77 55
5 57 79 9 Cm(maj7)
9 9 9 9 4B
7 6 74 6 4
5 57 7 9 9
99
99
4E
Cmaj7(#11)
FIGURE
3
8
8
8
0
7
8
8
8
8
8
8
0 7 5 4
7
8
8
8
47 6 4
Cmaj7(#11)
Em
Cmaj7(#11)
5
5
5
5 4 E/G#

4
5 Cmaj7(#11)
7 9
9
9 4
7 5 Cmaj7(#11)
5 7 9
9
9
Em
E/G#
85 7 9 85 9 85 9 0 7 5 4 7 5 7 85 7 9 85 9 85 9 4 7 6 4 77 66 44
4
Cmaj7(#11)
Cm(maj7)
87 9 5 58 9 585 9 404 4 7EE 75 54 4 7 76 84 58Cm(maj7)
5 Cmaj7(#11)
85 49 4 9 7B 6 B 4
5
6
5 7 9
9 5 9
9
9 7 64 7 6 4
7E 5 4 7 5 5 7 95 8
5Cm(maj7)
8 8 5 7 98 8 5 9 8
8 9
0
Cmaj7(#11)
B7 6 4
0
7 5 87 9
89
47
7 5
98
8
8
8 0 4
7 8
8 8
4

Cmaj7(#11)
E
Cm(maj7)
B
4

5
5
7 5
4
5
9
9

FIGURE5 4 7eight-string
5
7
5
4 7 6 4
5
9
9
9 5
9 guitar
9
6
8 Cm(maj7)
5 87
9
6
Cmaj7(#11)
B
8 9
8 9
7
N.C. 8
8 Cmaj7(#11)
8
8
7
EE0404 7 5 4 77 66 44 Cm(maj7)
5
5
5 B
9
9

5
7
9
9
9
6

5
5
7
5
4
5
9
9
8
8
8
0
8
7
FIGURE
4 eight-string guitar

9 9 9 9 9 9 9guitar
9
7
6
4
FIGURE
4
9eight-string
9
9
96 9 9 9 9 97 9 9
N.C.
85
859 9 9 409 9779 595 9 494 9 9 9 9 999 8
585 477 N.C.
5
5
5
9
9
5
9
9
9 9 5 99 8guitar
99
5
8
FIGURE
7 7 6 6 4 4
6 76
8 58 4 77eight-string
70
5
8
4
88
88
0
7
8 8
7
5

FIGURE
4 N.C.
eight-string
guitar
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9 9
44 N.C.
9 9 9 9 9 guitar
9 9
9 9 9 9 9 9 9 9
9 9 9 9 9 9 9 9
9 9 9 9 9 9 9 9
Fig.
FIGURE
49eight-string
guitar
FIGURE
7eight-string
5
8
7
5
8
1.
2.

7
5
8
4
7
7
9 N.C.
9 9 5
9 9 9 8
9 9
9 9
9 9 9
9 9
9 5
9 9 9 8
9 9
N.C.
7 9 9 9
5 9 9 9
8
4 9 59 9 9 9
0
0 0 0 0
0
0
9 9 9 5
9 9 9 8
9 9
9 9 9 9 9 9
9 9
9 9 9 9 9 5
9 9 9
9 9 9 5
9 9 9 8
7
7

1. 9 9 79 9 99 995 99 9 99 89 9 9 97 9 9 95 9 9 92.8 99 99 99 49 99 99 99 9 9 9 9 79 9 959 9 9 98 9

1. 9 9 9 9 9 9 9 9

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1.
0
9 9 9 9 9 9 9 0 0
7 0 05 0 82.2.9 99 949 995 995 99 99 9 0

1. 9 9 9 9 9 9 9
08 0 0 0 0 2. 7
0
8
1.
7
5
2. 9 97 9 95 95 9 89 008
1.

9 9
7 9 9 9
5 9 9 0
8 0 0 0 0

0
0 0 0 0
9 9 9 9 9 9 09 0 0 080
9 9 9 9 9 9 9 0

0
0
0
0

97 9 9 9 5 9 9 9 8

9 99 7979 99 99 5959 99 9 88 88
9 9 9 9 9 9 9
7
5
8

7
5
8
7
5
8
8
5
5
2
Cmaj7(#11)
Amaj7(#11)
9
5
9
51
5 fingerstyle
7 9
1 3 5
1
fingerstyle
let ring guitar
throughout
Eight-string
5 (low
5 to high, E B E A 1D G B 1E)
5 7 9 5 9 5 9
1 3 5
5 1
5
fingerstyle
8
8 17 9 8
4 1 3 54 11 4
FIGURE
5 1 50
5
5 9
5 9

0
00
00
00

a technique similar to standard classical guitar

tremolo technique, wherein a single note is picked
repeatedly and rapidly with different pick-hand
fingers. As shown in FIGURE 4, the B note on the

00
00
00
8

fourth strings ninth fret is picked repeatedly while

the bass note under it continually changes. This is
demonstrated on the eight-string but most if it is
playable on a seven-string.

six sense

chapter

Playing in 6/4, and the hybrid-picked

arpeggios in David
In the last chapter, I
discussed my penchant for
employing odd meters in much of
the music I write for Animals as Leaders,
using the song Cylindrical Sea as an
example. While Cylindrical Sea moves
back and forth freely between 7/8, 5/8
and 6/8 time signatures, the idea was
not simply to write a tune for the sake of
complexity. In fact, I rarely even think
about specific meters when constructing
a tune. My goal is to create interesting
musical compositions without taking an
analytical or theoretical approach. Usually,
it is only after a song is coming into focus
that I will analyze the inner workings
of the time signatures and harmonic
structure of the chord progressions.
David, the last track on Weightless,
was recorded using a seven-string guitar tuned normally (low to high, B E A
D G B E). I think of the song as being in
6/4 time, though one could just as easily reckon it as bars of 4/4 followed by
bars of 2/4.
FIGURE 1 illustrates the opening
pattern, which is built from alternating
arpeggiated Bf and D triads played on the
top four strings and played eight times. I
use hybrid picking to play these arpeggios,
using a pick to sound all notes on the
fourth string and fingerpicking the third
and first strings, with the middle finger
plucking notes on the third string and the
pinkie plucking the high E.
After FIGURE 1 is played four times,
a second guitar enters with the pattern
shown in FIGURE 2. I use the same
hybrid-picking technique to perform the
arpeggiated patterns in this riff, and you
will notice that I expand on the implied
harmony by including the augmented
fifth, Gf, in the Bf triad played across
beats one and two. This riff is layered
under FIGURE 1 four times.
At 0:24, the initial guitar drops out
as the riff illustrated in FIGURE 2 is
repeated, establishing the start of the
next theme in the tune, shown here in
FIGURE 3. In bar 2, the chord progression moves to the relative minor of Bf,
Gm, followed by the augmented five
chord, Daug/Fs, and the flat six chord, Ef
(which can also be thought of as the four
chord of the relative major key, Bf).
One of the cool things about
arpeggiating chords in this way is
that it allows me to imply polyphony
multiple independent voiceswhile

Seven-string guitar, tuned, low to high, to B E A D G B E.

Seven-string guitar, tuned, low to high, to B E A D G B E.
Seven-string
guitar, tuned, low to high, toFIGURE
B E A2D G B E.
FIGURE
1
Fig. 1 1
Fig. 22
FIGURE
FIGURE

FIGURE
1 B guitar, tuned,Dlow to high, to B E FIGURE
Seven-string
A DBaug
G B2 E.
B picking
Baug
hybrid
(playD8 times)
B
D
Baug
picking
8 times)
14 (play
10
FIGURE
1 hybrid
FIGURE
2
Seven-string
guitar,
tuned,
low
to
high,
to
B
E
A
D
G
B
E.
hybrid picking
(play 8 times)

10
FIGURE
14 D1414
7 Baug
10
10 8 12
14
12
10 12 low to
8
FIGURE
2

18 1010B

Seven-string
guitar,
tuned,
high,
to
B
E
A
D
G
B
E.
hybrid10picking
(play14
8 times)
8 5 7
14
6 9 Baug

B 10 8 12 10 12 14
D

14 12
7
8 10

Daug/F#
Daug/F#
(play 4 times)
6
7

64
6

Daug/F#
5 (play 4 times)
(play 4 times)
6
5
Daug/F#
6
5
(play
4 times)
7
Daug/F#
4 7 6 4 5
4 (play 44times)
Daug/F#
7
6 4 5
4 (play
4 times)

1 8 hybrid
2 9 8 5 88
10
14
FIGURE
FIGURE
8 12 10 12 (play
12
picking
8 times)
6

6 9 7 8 5

Baug
D 14 14
10
14
6

8 10B
10
8
12
10
12
12
8
hybrid picking
(play 8 times)

69785 6 7

10
14
m *
m * 14
m *

3 8 10mm*** =10ppw/pick,
14
6
FIGURE
m 8
10 12 m * m 12
8
4
* m12
6
= middle finger,
p =*pinkie
Gm Daug/F#
9
8 5E

Baug
Daug/F#
*
=
w/pick,
m
=
middle
finger,
p
=
pinkie
10
10
14
14
7
7
6 6 6
3 8 m* p m 8* 12 10 12 m *6 m 12* 5
8
4
FIGURE
Fig. 33
FIGURE
8 5 3

6 79 Daug/F#
6middle finger, p = pinkie
*
=
w/pick,
m
=

Baug
Daug/F#
Gm
E
7
7
3
3
7
m p m *8
* m4 *
Gm 7 4
Daug/F#
E
5
1
1
4 mDaug/F#
FIGURE Baug
3 9 ** = w/pick,
6
6
3
8 5 m = middle finger, p =6pinkie 5
6
5
6
6
3
6 m
6Baugm* 7p m *
m
*7
*
Daug/F#
Gm
Daug/F#
E
6
7
7
3
FIGURE
3 * =7 w/pick, m = 8middle finger,
4 7p =6pinkie
4 5
5 7 6 7 4 7 6 1 3 3
Baug
4
4
5
7 Daug/F#
4
1 E
Gm
Daug/F#
Gm
D/F#
FIGURE
Baug366 99 7 88 55 8 6 Daug/F#
7
7
7
3

6
5
6
6
4
5
7 6 Daug/F#
4 8 10
1 E 3
6 4
5 Gm
Baug9 8 5 8 66 Daug/F#
77
7
3
7 7
7 7
6
Baug
6 44 5
6 1 D/F#
5 5 6 7Gm4 7
88 6 4
4
Daug/F#
3
9 9
8 8 55
9
Baug
Daug/F#
Gm
D/F#

7
7
7 6
310
6 6 7
8
46
4 6
5 5
7 4
18
6
5
6
8 10
Baug 9 7 8 5
Daug/F#
Gm
D/F#
5 77
6
7
6 7
7
8
4
4
7
6
5
6
8
10
8 Gsus2 Daug/F#
4
5
Emaj7#11
D7/F#
Gsus2/B 4
E7sus4
B7/D# 7 D/F#
9
8
5
9
Gm
Baug
6
8
5
9
6 9
7 8
7 10
10
10
10
10
10 7 5
5
610
6 104
5 10 510
6
8
10
10
10
11
11
10
10
10
4
4
5
8
4
7
Baug
Daug/F#
D/F#
6
9
Gm
7
7
6 9 7 98 5 8
6
5
6
8
4
4
5
7 10
Emaj7#11
D7/F#
Gsus2
Gsus2/B
E7sus4
B7/D#
6
11 9
0
9
0 E7sus4
B7/D#
7 8D7/F#
5 8 8 Gsus2
8
87 0
0Gsus2/B
0
07 4
4
6Emaj7#11
10
8
10 4
10
104
10 5 10
10 7 5
10 9 10 10 8 8 5 11 11
10
10
10
10
10
10
5
49
Gsus2
Gsus2/B
E7sus4
B7/D#
Cmaj7
10 10 D7/F# 11 11Baug
10
10
10
10
10G
10
4
6Emaj7#11

10
8
10
10
10
10
10
10
5
9

00 Emaj7#11
D7/F#
Gsus2
Gsus2/B
E7sus4
B7/D#
0 0 10
0
0 11 11
10
10
10
10
107 8
10
4
11 0 10
0
0 10
0
0 9 0
0
8
11
0
0 10 0
8
8 10 8 10
07 8 0 10 0
4
4
10
8
10
10
5

Emaj7#11
E7sus4
8
8 10 8 9 Gsus2/B
0
0 10 0
4
4
10
10 D7/F#
11 Gsus2
10
10
10
10 0 B7/D#
4

9 11
10

11
0
0 10
7 10 11
10
8
10
10
10
10
10
5

1Cmaj7
8
8 10
0
0 10 0
4
4
1
108
10 0G
10 101 91 111 11 4 8108Baug
Cmaj7
Baug 10
G 4
11
0
0
0
7 8
10
Cmaj7
8
8
8
0
0
0
0
4
4
0
10
0
8 7 8
000 000 0009 000
Baug
G
0 11
0
0
7 8 8 0
8
8
8
0 90 7 80
0
4
4
00
0
0 0
0
7 8
10
Cmaj7
Baug
G
10 9
0
0 0
0
0
8
m
* p m *

m * m *

* = w/pick, m = middle finger, p = pinkie

1
1 0 0
0
Cmaj7
1
1
0
0
1
0

0 0
0 0
1 0 0

7 10 11 10

4 8 7 10 11
Baug
4 8

0
1
0

1 0 1
1 0 1
0
1 0 1

4 8

1
0
1
0

1
1

4 8
0

4 8

7 10 11
7 10 11
7 10 11

not actually sounding chords in a conventional

way. Regarding the picking technique, the
pick hand strikes the string closest to it, so the
pattern is both logical and economical in terms of
movement. For me, hybrid picking in this manner
facilitates sounding notes on nonadjacent strings
as the pattern evolves.
In bars 6 through 8, I alternate between low

10
10
10

9
9
9

7 8
7 8
7 8

8
8

7 8
7 8

00
00

00
00

4 5
4

3
3
3
3
3

5
5
4
4
5
4
5
4
5
4

1
1
1
1
1

5
5

5
5
5

8
10
G
8
10
8
8
8

seventh-string bass notes and two-note figures

sounded on the top two strings, culminating with an
ascending line in bar 9 that outlines Baug.
An influential resource for this type of playing
is Gustavo Assis-Brasils great book, Hybrid Picking
Lines & Licks for Guitar. Its one of the most useful
instructional books Ive ever come across, and I
highly recommend it.

six of Another

chapter

More on playing in 6/4 meter, and how I perform

the hybrid-picked arpeggios in David, part 2
In the last chapters
analysis of the track David,
I described my penchant for
writing songs in both odd and shifting
meters. The opening sections of David
are played mostly in 6/4 (also reckonable
as alternating bars of 4/4 and 2/4), with
bars of straight 4/4 briefly used here
and there. Additionally, I use hybrid
pickinga useful technique that combines
flatpicking and fingerpickingto perform
the many different arpeggios and chordmelody patterns I play in the song.
FIGURE 1 illustrates the phrase heard
between 0:45 and 1:00 on the recording,
after which I reprise the songs opening
phrase. In bars 13 of FIGURE 1, I
fingerpick melody notes on the top two
strings while simultaneously flatpicking
low bass notes to provide implied
harmony. I use my pinkie to pluck all of
the melody notes except for the open B
note in bar 3, which Ill pluck with either
my middle or ring finger. This is the
most comfortable way for me to play this
passage, but I encourage you to try other
fingerpicking combinations to see what
works best for you.
One advantage hybrid picking has
over straight fingerpicking is that it
enables you to quickly and easily revert
to flatpicking, which is what I do to
play the ascending run in bars 46. In
bar 4, I employ economy picking, also
known as sweep picking or rest-stroke
picking. When moving from a lower to
a higher string, I rake the pick across
the strings in a single downstroke. Bar
5 is performed with straight alternate
(down-up or up-down) picking.
To finish out the tune, the last
thing that happens is a new melodicharmonic guitar part that is layered
over the opening Bf-D loop shown in
bar 6 of FIGURE 1, which is performed
with hybrid picking. This part, shown
in FIGURE 2, is also performed with
hybrid picking and played in virtually
the same rhythm as that introductory
part but supplies its own harmonicmelodic content.
FIGURE 2 begins with arpeggiated,
open-voiced chord shapes nearly identical
to those in bar 6 of FIGURE 1, except here
the low bass notes are played on the sixth

Seven-string guitar (tuned, low to high, to B E A D G B E).

Seven-string
guitar (tuned, low to high, to B E A D G B E).
FIGURE
Seven-string
guitar (tuned, low to high, to B E A D G B E).
Fig. 11
FIGUREG1
Seven-string
guitar
BE
B E).
G/B (tuned, low
Em to high, to
B/D#
G A D G Cmaj7
FIGUREletG1ring throughout
Seven-string
guitar
(tuned,
low
to
high,
to
B
E
A
D
G
B E).
G/B
Em
B/D#
G
FIGURE 1

Seven-string
guitar
(tuned,
low
to
high,
to
B
E
A
D
G
B E).0
G
G/B
Em
B/D#
G
FIGURE10let
10 7throughout
7
5
3B/D#
2 3G

G1 ring
Em
10 G/B 8 8
8 7 8
0
ring
throughout
FIGURE
1
10let
G ring
Em
B/D#
G
10throughout
7 G/B
7
5
3 2 3
let

Cmaj7
Cmaj7
0
0
Cmaj7
Cmaj70 0
0
0 0
Cmaj7

10Gletring10throughout
00 00
10 8 8
8 7 8 B/D#
7 G/B
7
5
3 2 3
Em
G

10 7 10
0 0
8 8 7 8 7 8 35 33 221 33 00 1 00 00
810
let ring
10
7 0 10 8 8 5 7 8 74 8 5
0 0
10throughout

10
8
8
8
7
8
0
3 2 3

10 10 7
7
5
0 0
0 0

8
0
5
4
1
1
Gaug
10 8 8
8 7 8 B
0 D
3

4
1
1

88 00 55
1033

4
1
1
14

0 8 5 4 B
1
Gaug
8
1 14 D
7 8
10 8 7 10 3B
10

DD14 121 14
Gaug
Gaug

9
10
8
8
12
10
12
8
0
5 4 B
10 1

5 6
10
Gaug

14
D
10
7 7 8 88 10 8 7 B

Gaug
10 10 10
14 14 14
4 8
8 10 10 10 8 12 10 12D 14 14 14 12
9 7 8 8 10 8 7 10 B

10
8
7 10
10 8 12 10 12 14
14 12

88 10
9 7 8
7 55 66 10
8
*
*
*
8 12 p10
12 14 14 14 12
10 9 7 8

10 8 7 10 * =
10
10 finger;
w/pick;
m =10
middle
= pinkie
4 8 7 5 6 10
8

10 12 14
FIGURE
42 8 7 5 6 10 99 7 8 10 8 7 10
88 10 10 88 12
14 12
10 G(9sus4)
4 8 7Am7
G(9sus4)

m p m * 12D10 12 m
p m 12
B
F
*
*
** =mw/pick;
4 58 7 5 65 10
m *
* middle finger;
6
13
17p mm =
14 m p =p pinkie
m p m

FIGURE
45228 5 5 5 5
FIGURE

Fig.
22
G(9sus4)
Am7
FIGURE
3 2 5 3 Am7
5
5
G(9sus4)
FIGURE
G(9sus4) Am7 5
5
5
FIGURE
2
G(9sus4)
5 5 Am75 5

p m

p mm =
m p =p pinkie
m *
* middle finger;
* =mw/pick;
14
mw/pick;
p17 mm =
m p =p pinkie
m *
** =17
* middle14finger;
B
F
** =mw/pick;
=
middle
finger;
p =p pinkie
pG(9sus4)
mm13
mD
m *
12
*
G(9sus4)
5 6 B 66 13 F
13
15
10 finger; D
10
13 13 15
17middle
14
* = w/pick;
m=
p = pinkie
B
F
G(9sus4)
D
13
17
B7 66 7 F
G(9sus4)
D 14 14
5
14 13 14
14
17 17 17
5
5
14 14
5 5 5 Am7
5
5
5
7
7
14
14
14
17
17
G(9sus4)
B
F
G(9sus4)
D 14 14 14
5
6
13 B
17
G(9sus4)
Am7
F
13
12
5 bar)
5
5 5 5
7 7
14
14
14
17 17
14
14
(repeat prev.
3 5 3 5 5 5 5 5 6 65 6 13 13
13 613 15 17 13 15 13 12 10 14
10
5 5
5 5 5
7 7
14
14
14
17 17
14
14
3
3 5
5 5 6
6 13
13
13 15
15 13 12 10
10
5
5
5
5
5
7
7
14
14
14
5
5
5
5
5
7
7
14
14
14
17
17
14
14
3
3 5
5 5 6
6 13
13
13 15
15 13 12 10
10
3
3 5
5 5 6
6 13
13
13 15
15 13 12 10
10
G(9sus4)
Am7
B
F
3
3
5
5
5
6
6
13
13
13
5 5 6
6 13
13
13 15
15
10
10
(repeat3prev. bar)3 5 G(9sus4)
Am7
B
F
5
5
6
13
(repeat prev. bar)
G(9sus4)
Am7
B
F
(repeat prev. bar)
5
5
13
G(9sus4)
B 7 66 7 F
5 5 5 Am7 D5 5 5
5
14 13 14
14
G(9sus4)
(repeat
prev. bar)
5
5
5
5
5
7
7
14
14
14
G(9sus4)
Am7
B
F
17
14
5
5
6
13
(repeat prev. bar)
5
5
5
5
5
7
7
14
14
14
3
3
5
5
5
6
6
13
13
13
5
5
6
13
17
17 5
5
5 14 5
514
7
7
14
14
14
3
3 5
5
5
6
6 13
13
13
5
5
5
5
5
7
7
14
14
14
13
12
3
3 5
5
5
6
6 13
13
13
15
15
10
10
3
3 5
5
5
6
6 13
13
13
G(9sus4)
D
3 5
5
5
6
6 13
13
13
G(9sus4) 17 3
D
14
G(9sus4)
D
17
14
G(9sus4)
D 14 14 14
17
17
17
17
17
G(9sus4)
D 14 14 14
17
13
12
17
17
14
14
15
15
10
10
17
14
13
12
17
17
14
14
13
12
15
15
10
10
17
17
14
14
15
15
10
10
13
12
15
15
10
10
13
12
15
15
10
10

14

14

14

string instead of the fourth. The intervals of sixths on

the third and first strings carry over from the initial
theme. From bar 1 through beat two of bar 3, the bass
notes steadily ascend the sixth string as the chords
move from G(9sus4) to Am7 to Bf and F, culminating
with G(9sus4) played one octave higher. I then
alternate between this pattern and an arpeggiated D
triad, which requires a rather wide fret-hand stretch:

while the index finger is planted on the sixth strings

10th fret, the ring finger and pinkie fret notes at the
14th fret of the third and first strings, respectively.
Gustavo Assis-Brasils instructional book Hybrid
Picking Lines & Licks for Guitar, which I mentioned
in the previous chapter, was an invaluable resource
for developing the techniques I use in David, as
well as many other of my original compositions.

voicing opinions

chapter

Devising chord voicings on

the eight-string guitar

Eight-string guitar,
tuned,
lowlow
to high,
to E to
B EEABDEGABDE G B E
Eight-string
guitar,
tuned,
to high,
FIGURE
FIGURE
2 22
FIGUREFIGURE
3
Fig.
Fig.
33
Fig. 111
FIGURE
FIGURE
5fr
1134211

1 153 4 2 1 1

1134211
5
5
6 5
7 5
7 6
5 7
5 7
5 5

5
5

5
5

FIGURE 4

5
5
6
7
7
5
5
5

A B C D E

1134211

5
65
75
76
57
57

7
5

A B C D E

7 8 10 12 12
7 8 10 12 12
85 9 7 118 131013 12
95 107 128 141014 12
96 108 129 141114 13
77 8 9 101012120 14
77 8 9 101012120 14
75 8 7 108 12100 12

5
5

11134111

11324111

5
5
5
7
7
5
5
5

5
5
9
7
8
5
5

12
12
13
14
14
0
8 10 12 0
8 10 12 0

7
7

5
5
5
7
7
5
5
5

14fr

13 2
Em9

Gmaj7/E

7
7
FIGURE910
9

15
15
0
0
16
16
14
14
0
0
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12
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E(#11)

9
9
11
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Fig. 10
FIGURE
10
12

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18

14

14 16

12
12
14
14

150

14
16
16

E(#11)

16 15
16

0
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16 16

14016

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1216 18 14
12

1415

14 16
18

9
0

7
9

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12 16

17
17
19
19

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C#m9
0
8
9
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4
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14
16
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9
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8
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16 16
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9
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4
7
6
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Gmaj7/E

Em7#5

Emaj13

E(#11)

2413

2 314

15
17
17

4
5
4
4
4
5
5
5

8fr

11fr

15
15
17
17

Emaj13

16 16

4fr

4
7
62 2 2 1 1 3 4 1
4
4
4
5
7
5
6
5
4

Fig. 8 8
FIGURE

Gmaj7/E

17
19
19

14
14
16
16

15
17
17

E6
0 9

4
5

Gmaj7/E

0
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11
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Em7#5 12
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17 15
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12
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FIGURE 8 5

2 314

0
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9

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FIGURE
Fig.
99
Esus2

Em9

0
15
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Gmaj7/E

Fig. 77
FIGURE

13 2

0
0
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4
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00
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FIGURE2 9
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Gmaj7/E

4
5
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4
4
4
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7
242 2 1 141 4 1 6
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44
44
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Fig. 66
FIGURE

Em9

5
FIGURE
7

4
4
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5
5
5

Em9

4
5
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4
4
5
5
5

4
4
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7
44
54
56
57

Amaj13

2 2 24fr
11341

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5

5 6
FIGURE

4fr

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7
7
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Amaj13

Amaj13

2 2 2 1 4 3 1 1 4fr

5fr

5
5
9
7
8
5
5
5

4fr

Amaj7#11

55
9
57
58
95
75
85
5
5

FIGURE
Fig. 55

4fr

Am#5

5fr

5fr

1 1 3 2 451 1 1

Amaj13

Amaj7#11

Am#5
Am9
11132411

1113415
11

FIGURE 5

FIGURE
Fig. 44

5fr

5fr

5fr

AmAm9

5fr

5
65
75
76
57

5fr

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5fr

1 3 452 1 1

A A

134211

5fr

A/E
A/E

5fr

AA

I love the extended range

and chord voicing possibilities
offered by the additional two
lower strings on an eight-string guitar. I
tune my eight-string, low to high, to E B E
A D G B E. This way, my lowest string is
an E, an octave below the sixth string, and
the seventh string is B, as it normally is on
a seven-string guitar.
To show why this tuning is useful,
lets start by playing a normal major
barre chord. In FIGURE 1, I begin with
A major played on the sixth through first
strings. I can also barre my index finger
across the seventh and eighth strings
to conveniently fill out the sound of the
chord. In FIGURE 2, I ascend from A up
to E at the 12th fret. This E barre chord
can alternatively incorporate the open
bottom three strings, with fretted notes
played across the top five strings.
Using this as a starting point, I can
build a great variety of chords by keeping
the index-finger barre and moving my
other fretting fingers around. In FIGURE
3, I start with a standard Am chord and
move to somewhat unusual Am9 and
Ams5 chords. For the latter two voicings,
be sure to place your fret-hand thumb
squarely on the center of the back of the
neck to accommodate the wide stretches.
A favorite chord of mine is Amaj7s11.
FIGURE 4 illustrates two voicings that
I often use for this chord. For each, be
sure to pick each note individually to
check that all of the strings ring clearly.
Likewise, FIGURE 5 offers two different
ways to voice another harmonically richsounding chord, Amaj13.
A technique I employ often is to fret
chord voicings on the higher strings
while incorporating the open lower
strings. This approach can yield some
unusually broad voicings, such as the
Em9 shown in FIGURE 6 and the
Gmaj7/E voicings shown in FIGURES
7 and 8. Notice in these latter examples
that I include open higher strings as
well, which, to my ear, provides some
beautiful chordal options.
Another technique I like to explore is
to take a static voicing (one in which the
grip stays the same) and simply move it
up or down the fretboard, as in FIGURE 9.
A great example of my incorporation
of eight-string voicings can be heard in
the song, Point to Point, from the first
Animals as Leaders album. Its based on
the arpeggiated Bmaj7/E voicings shown
in FIGURE 10. This phrase is performed
with a combination of sweep picking and
alternate picking.

11

11
!
0
!

13

turn on the heat

10
chapter

Effective ways to warm

up both hands
One of the toughest
things for me to do while traveling constantly is to find time
to warm up quickly and effectively. I
have devised a few different techniques
over the years that have proven invaluable to me and which Id like to share
with you in this chapter.
Two of the most common phrasing
patterns I find myself using are either
arpeggio sequences, wherein long
lines are formed from playing one note
per string across groups of strings, or
chromatic lines, wherein a series of
notes are played in succession on one
string. In the two exercises presented
here, both approaches are employed.
Use alternate picking throughout,
and strive for clarity and cleanliness
in the articulation of each note. Once
you have a handle on this, you can
try incorporating economy picking,
which is my picking preference when
crossing strings.
FIGURES 1 and 2 are exercises that
I visualize purely for their symmetry,
with reverse diagonals played across
the strings alternating with chromatic
notes on one string. FIGURE 1 begins
with the pinkie on the high E strings
15th fret, the ring finger on the 14th fret
of the B string, the middle finger on the
13th fret of the G and the index finger
on the 12th fret of the D. On beat two,
I walk up the D string chromatically
(one fret at a time) with each fretting
finger until the pinkie is at the 15th
fret, after which I reverse the diagonal
and move one note per string back up
to the high E. On beat three into beat
four, I chromatically ascend the high
E back up to the 15th fret, after which
the first shape is repeated. The pattern
then moves down one string and is
repeated three times, and then I change
direction and move back up.
When you get back to the very
beginning of the phrase, a neat twist is
to move down one fret and repeat the
entire sequence, as I do in FIGURE 2.
As performed on a seven-string, the lick
becomes even longer than it would be
on a six-string.
Now that you have the idea, try moving similar ideas around the fretboard
in as many different ways as you can
devise. Youll find that exercises like this
will keep your chops in shape, whether
youre about to walk out onstage or are
preparing to record a solo.

Seven-string guitar (tuned, low to high, to B E A D G B E).

Seven-string
guitar (tuned, low to high, to B E A D G B E).
FIGURE 1
Fig. 1 sim.
FIGURE15
1
1
Seven-string
guitar (tuned,
low to high, to B E A D G B E).
12 13 14 15
sim.
13
14
15
12 13 14 15
1FIGURE
114 13
14
13
14
14
13

15 13 12 13 14 15 1412
15 14 12 13 14

3
15

3
3

15

14

15
15

13

14

14

13
13

12 13 14 15
12 13 14 15

14

12 13 14 15

13

14
14

13

12 13 14 15

12 13 14 15

13

14

13

12 13 14 15

13

15
12

14

13
14
sim.
15
12 13 14 15

14

15

12

14

12

14

13

13
13

12 13 14 15
12 13 14 15

12 13 14 15

15

14

13

14
14

12
15

13
13

14

1314 15
12 13
12

14

12 13 14 15

13

14

13
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12
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12 13 14

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12 13 14

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14 12 1314 15 1112 13 14
14
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14 121314 15 13
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FIGURE
2
etc.
14 121314151 13
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FIGURE
Fig. 2

FIGURE 2

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rollercoaster ride

11
chapter

Seven-string arpeggios

one of my most valuable

study practices has been to explore arpeggios (also known as
broken chords, wherein each note of a
chord is played individually and in succession) across all the strings. Like most
guitarists, I began on six-string and soon
graduated to seven- and then eight-string
guitar. In this chapter, Id like to demonstrate some cool ways to perform a variety of arpeggios across seven strings.
Ive devised a specific arpeggio fingering pattern diagonally across the strings,
spanning over two octaves, for which I
can then alter one or two notes in each
octave to morph from one chord quality to anotherfor example, from minor
seven to dominant seven or major seven.
This way, the fingerings are visually and
physically similar and easier to memorize.
Lets begin with Em7 (see FIGURE 1).
After I strum the chord, I pick the notes
of an Em7 arpeggio: E (the root), G (the
minor, or flatted, third), B (the fifth)
and D (the minor, or flatted, seventh),
descending across the top five strings in
seventh position and continuing across
the bottom three strings in fifth position.
When practicing, Ill often incorporate
economy picking (also known as reststroke picking) into the execution of arpeggios. Economy picking is a technique
whereby you use the same pick direction
when crossing to an adjacent (neighboring) string: when moving from a lower to
a higher string, the last note on the lower
string and the first note on the higher
string are picked with downstrokes. Conversely, when moving from a higher to a
lower string, the last note on the higher
string and the first note on the lower
string are picked with upstrokes.
FIGURE 2 illustrates an Em7
arpeggio ascending and descending
across all seven strings, with fret-hand
fingerings and pick strokes indicated.
I begin with an upstroke on the low B
string, followed by three downstrokes
as I move across the bottom three
strings. This pick-hand movement is
then repeated for the next four notes,
followed by a hammer-on from the
G strings seventh to ninth frets and
the continuation of the downstroke
movement across the top three strings.
Im essentially raking across the top
five strings. When I descend, I use
consecutive upstrokes, or a reverse rake,
to move across to lower strings.
Now lets tweak this pattern to
formulate other arpeggios qualities.

Seven-string guitar (tuned, low to high, to B E A D G B E).

Seven-string guitar (tuned, low to high, to B E A D G B E).

FIGURE
Fig. 11 1 guitar
Seven-string
FIGURE
Seven-string
guitar(tuned,
(tuned,low
lowtotohigh,
high,totoBBEEAADDGGBBE).
E).
Em guitar
Em7(tuned,
Em
Em7
FIGURE
1
Seven-string
Seven-string
guitar
(tuned,
low
low
to
to
high,
high,
totoBBEEAADDGGBBE).
E).
FIGURE 17
7
7
10
7
7
7
7
7 10 7
7
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Em
FIGURE
FIGURE1Em
Seven-string
to
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81
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8 8 low8to high,
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Em
Em7
88
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88 9 low88
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FIGURE
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9
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FIGURE
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31 1 424 1 11 2 24 393 19171FIGURE
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8
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5
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FIGURE
3
Emaj7
arpeggio
w/economy
picking
FIGURE

*
*

=
=
upstroke
upstroke
=
=
downstroke
downstroke
sim.

FIGURE
3
Emaj7
arpeggio
w/economy
picking
FIGURE
4
Emaj7#5
arpeggio

115 51448 84337 7311 111 144 4337 11311 71 33 322 211 144 411 122 233 311 1 33 344 411 111 1337 73448 841155 51
Fig.*3
Fig.
1arpeggio
2 picking
1 4
3 4
1 3 4
4arpeggio
1
sim.
==94downstroke
FIGURE
FIGURE
Emaj7
Emaj7
arpeggio
w/economy
picking
FIGURE
Emaj7#5
Emaj7#5
arpeggio
3 1arpeggio
1 w/economy
1 2 3 1FIGURE
9 3w/economy
9 3
FIGURE
Emaj7
picking
Emaj7#5
arpeggio
sim.
= upstroke
= 7downstroke
upstroke
**31133*===31Emaj7
44411FIGURE
44upstroke
8
8
711
1177 9 8
downstroke
upstroke
sim.
9493w/economy
FIGURE
Emaj7#5
4331arpeggio
31 1 993
3
2 picking
291 1
4 4
1 1 2 23 3 1FIGURE
1 3 3 44 4 sim.
1 1 1 3 3 4arpeggio
410
1 1
9 1 1 1=4 downstroke

sim.

FIGURE
3
Emaj7
arpeggio
w/economy
picking
FIGURE
4
Emaj7#5
arpeggio
FIGURE
3
Emaj7
arpeggio
w/economy
picking
FIGURE
4
Emaj7#5
arpeggio
88
99 7w/economy
88
711
6 7 11arpeggio
FIGURE
arpeggio
Emaj7#5
=6 upstroke
=9 downstroke
upstroke
downstroke
119 777791199999878889picking
9911
99 =
10
9
8
5*39*=7Emaj7
45sim.
7 11
7776667 9 5 FIGURE
FIGURE
FIGURE
10

6Emaj7
11
66 7711

sim.

11
8arpeggio
8 9 9 7w/economy
88
9sim.

67711
11arpeggio
11
11
3
w/economy
picking
4
Emaj7#5
arpeggio
FIGURE
3
Emaj7
picking
FIGURE
4
Emaj7#5
arpeggio
sim.

7
11
7
11
7
7

77 1111998 9 98 99 79911 7 99 99 8 991111877669779955 55 99 886677111110108

1010 1088 8 6 7 11 10 8
sim.
sim.
7 9911889 899 99 7 117 117 97 99 889 899 9 FIGURE
65 Emaj7#5

711
7
88
55559999776676776711

(G#/E)
7

9 95 5
5
9 9 6 7 11 10 8
5(G#/E)
7 6 76117 119 8 8 9 99 9 9 99 89 8 9 111111 11777 6667FIGURE
6
7 11
7611
7FIGURE
8 6
Emaj7#5
557 G#triad

G#/E
6

9Emaj7#5
5
75
8 7 115 98 8
7

5 (G#/E)
9 8
7 9
9 9
9 9
sim.
55559995879791166712776 11

9 59 5
9
5 89 G#/E
G#triad
Emaj7#5
(G#/E)
FIGURE
11
8
G#triad 55(G#/E)
G#/E
9
7 11
6 9 5 55 Emaj7#5
6
7
11
11 11
7 67FIGURE
6
7
11
8 8 1110 10

FIGURE
7 7 5sim.
9 59 958879111171212111188 9 9 8

sim.

Fig.
Emaj7#5
G#triad
G#triad5 5(G#/E)
G#/E
Emaj7#5
85
9 9 G#/E
8
55
9
9(G#/E)
FIGURE
55FIGURE
5Emaj7#5
99
99
FIGURE
10
10 (G#/E)
10
(G#/E)
sim.
59sim.
Emaj7#5
(G#/E)
6Emaj7#5
FIGURE
G#triad
99 8 811
99 88 11 7 6
88 99 G#/E
88
1112
1211
118 8
7 11
11

G#triad
G#/E
G#triad
G#triad
G#/E
G#/E
10
6Emaj7#5
10
10
99
99
8
8
010
sim.
FIGURE
FIGURE
10
6
10(G#/E)

G#/E
(G#/E)
Emaj7#5
5 75G#triad
7711

sim.
9 9 8 11 12 11 8
9 98 8 11
8 9 9 11
811
8
sim.
5 sim.
9

1177 66 9
11 8
sim.

11
8
12
12
11
11
8
8
8
11
12
11
8
8
8
0
9 8
9
10
10
6
6
10
10
10
10

8
8
0
G#/E
G#/E
sim.
8 11 12 11 8 9 9 99 8
55 7G#triad
9G#triad
9 9
811
11
117 76 6 99
7 711
11 8 9
11
7
9
9 99
9 9 89 10
sim.
9
8 8
8
FIGURE
7998 9 10
6
10 8
88
8 8
0
0 8 8 9
FIGURE

9
9 99 68 11
9 8 10
8
8
8 11
12 12
11 11
8 8
10
6
6
10
10
10
10
108
11
7
6
7
11
11
9
9
5
5
7
7
9
9
86 77FIGURE
Em/maj7
10
6
10
10 11 11
10 7
10
9 69 E7
9 9

7 67 6
11
7 11
11
11
FIGURE
0
FIGURE
7
FIGURE
sim.
11
11
9 9 6E7
9 8
9 8 11 7 6118
8
8
9
9
8
8
sim.
7
6
7
11
8
8
0
0
5 775 989687 FIGURE
Em/maj7
E7
7 10 7 8
8 9
0 10
6
10 10
10 108
10
110
9 9 8 5
7Em/maj7
FIGURE
FIGURE6 6 sim.
sim.
9 11 11
5 7 9 79FIGURE
7 6
7 96 9 9
11
75117 79
11 11
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7710
Em/maj7
Em/maj7
6 E7sim.
7 9
8
8
0 0
1077 8 98 7
5 75 789 FIGURE
FIGURE
9
sim.
sim.
9 FIGURE
77Em/maj7
FIGURE
7 6 7 10 9 8

FIGURE
FIGURE
66 E7
6sim. 5 7 11 9 77 99 997 710107 7 99 999 797

FIGURE
7
FIGURE
11
7
5

E7
Em/maj7
Em/maj7
FIGURE
799 8
99
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FIGURE
99
99
7
7
9911117755 7 9 Fig.
6656E7
7 sim.
57sim.
Fig.
FIGURE
E7
Em/maj7
sim.55 7711
66 7710

sim.
10 7
FIGURE
7sim.
9 97 7
88
9E7
8
FIGURE
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11 7 7 9 9 7
10
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Em/maj7
7 10
7
7
77
77
9 7
99
99
5E759E7
99 117755 77 99 Em/maj7
79 10
10
7 9
9
sim.
55Em/maj7
88 6 67 710
99 7 11
8
5 57 711
11 7 9 9
10

9sim.
9
9
sim.
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7
9
9
7
7
9
9
7
7
FIGURE
98
77
5599775 7 11 999 79 9 9 79 107910779710
5588776 7 10 999 889 8
9 7
9
9 7 5
99
9Em75
998811
9
77 557 775 11117 11 7 79 79 9 FIGURE
77 667 776 10107 10 8 8
11
11
7
5
7
5

7
FIGURE

8
9 7sim.117 7 5 7 97
9 7

512
9 11
Em75
79 7
6
10
9 9 9
989 97 9 9
87 11

68 555 8885 78 6 76 107 109 9 6 7 10 9

Em75
5
9
5
FIGURE
FIGURE
8
5 9
9 7 85
5 87
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7 71111
11 11
7 57 5 11
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sim.
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10
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Em75
7 77 9 6
66 9 7 878 7 5 8 7
9887711115121295511711
67
10
8
FIGURE
9
sim.
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FIGURE
88 8 5 710 8 97 99 886 6101096 68895785
9 7 788 9 8 9 10 7 6
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1112
1211
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Em75

98
7 9
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88
88
Em75
Em75
88
88
88
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7 Fig.
6
6
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Em75

8 55710
10 6 9 97 7 10
9 9 7 11 12 11 7
9 98 8 10
sim.
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5 88
107766 8 FIGURE
710 7 7 9 9 6
107755 8 5
sim.
7
11
12
11
7
6
10
6
7
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7
6
10
6
FIGURE
8
7
6
66
8 7 11 12 11 7 8
8 6 10 6 8
99
88
88

7
6

Em75
Em75
87
8
8
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5588 5 5710
9 8
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107 76 6 88
710 7 9 8
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8 8
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sim.

Em75
9
9
8
9
8
7
7
9
9
7
9
7
9
8
8
7
7
6
6
6
E
minor
pentatonic
lines
FIGURE
9

9 7 11
7 11
6 10
12 12
11 11
7 7 9 8 9 109 7 6 8 8
6 6 9 7 8 108 7 5 68 85 5
sim.88 78 9 8 6810
10 7 101255108867555 10710
910 10
8 87911E
8 78 pentatonic
8 8 6810
7
6
776 lines
710
5 710
10 10
76 5
minor
FIGURE
12
11
E
minor
pentatonic
lines
FIGURE
9
10
7
6
710
5765
9 9
9 89 8
7 79 9
9 79 7 10 7

6

5
810
8
8 9 9 7 77 8897 812
8 8 8 866 886558 5
7710
12
10

68776 12 8 89 7
10
12

5
8
5
minorpentatonic
pentatonic
lines
FIGURE
FIGURE
10
9 99 EEminor
9108910
7 9
9875
9
58
5 710
7 67 6 8lines
5 10
710
10 10
7 57 5
10
10

5 7 10 12 9 777 79912
9 E minor
6 6 8
8 10 7 5
12 7
7 12
71010121251081056877610101212 959 7710
pentatonic
lines
FIGURE
99 10 7
99
10
10
7 minor
7

8lines
8
8 58 5 10 7 5

6
E
pentatonic
E
minor
pentatonic
lines
FIGURE
FIGURE
9
9
55 77pentatonic
10
5 98 E10minor
12 10 7
912
12
12
12 69 9 7 7 12
5
lines
FIGURE
1012
12 7 7 9
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710 77 10
6

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10
10
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7
77
77
10
99
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7
10
12
10
7
8
5
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10
10
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5599889E10510Eminor
9
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10
10
12
1210
107 7 5 5 5 10
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pentatonic
lines
lines
FIGURE
FIGURE
Fig.
1088 55
5129 7
5
5 10 12
10
7
7
9
12
9
12
12
12
9
7
9
7
9
77
7
7

7
9 12
7 10
7 10
12 12
10 10
7 7 12 9 7 9 12
9
9
9
5
7
10
12
10
7
5
5
5
8
8
10
10
10
10
8
8
5
5

55 9
5510
5510 10
595
5
10
55E77 minor
5
7 12
10pentatonic
12
12 10
7 55
5
12 10
7 5

FIGURE
5 7
7 10
10
12
9 12lines
7 7 9 12
12 12 9 97 7 12 10 7 5 7
7 8

5
585 10
55 9 9
55
5 5 12 10 7
595 9
57
7 7
7510
555 8858910
7
10
10
10 10
8 85
10
5 5
7 10
5 57 10
12 12
10 10
7 75 5 10 8
10
10 5 12 12
5
5
5
5
5
7
7
7
7
5 58 10558 105
7 55 95 12
55 5
55 5
55125 9 7 55 10
5 10
8 85 5

00
000000 0

5 5

5 75 10
5 12

5 5

5 8 10
FIGURE 3 offers5 an Emaj7 arpeggio
(E Gs B Ds)5
5
picked the same way as FIGURE 2, and FIGURE
4 formulates an Emaj7s5 arpeggio, achieved by
changing the B note of Emaj7 to C (the augmented,
or sharped, fifth). Interestingly, Emaj7s5 can also

5 5

5 5

5 12
5 10 7 5

10 8
5
be analyzed
as
a
Gs
major
triad
(Gs
Bs
Ds)
played
5
5
5
over an E bass note (Gs/E).
FIGURES 6, 7 and 8 illustrate similarly
structured arpeggio patterns for E7 (E Gs B D), Em/
maj7 (E G B Ds) and Em7f5 (E G Bf D), respectively.

two-hand touch

12
chapter

Examining the two-hand tapping and

odd-meter phrasing in Isolated Incidents
For the track Isolated
Incidents, from Weightless, I
devised an unusual two-handtapping figure that serves as the songs
primary melody and sets up the distinct
rhythmic syncopation from which other
musical ideas evolve as the song unfolds.
This type of theme and development
concept is a songwriting tool that I use in
many of my compositions.
The intro of Isolated Incidents is
performed by tapping notes on the fretboard with both hands simultaneously.
Some of you may be familiar with this
approach through the playing of jazz
guitarist Stanley Jordan. When the track
begins, the first thing you hear is the
melody, which I play entirely with my
fret hand. Without picking conventionally, all of the notes are sounded by firmly
hammering onto the fretboard with the
fingertips. At 0:17, an ostinato (recurring
accompaniment) figure enters, which
is produced by repeated pick-hand
fretboard taps on Fs on the D strings
11th fret. The term ostinato is Italian for
persistent(ly). In music, it usual refers
to a short, repeating pattern performed
simultaneously with a melody. When the
ostinato is above the melody, it is sometimes referred to as a rhythmic ostinato,
or isorhythm.
FIGURE 1 shows the part as played
with both hands tapping simultaneously. While the pick hand taps the Fs
in steady quarter notes, the fret hand
taps the syncopated melody on the
bottom four strings of the eight-string
guitar. An additional twist is provided
by the unusual meter of 11/8, which can
be thought of as four quarter notes (or
eight eighth notes) followed by three
eighth notes (8+3=11) and counted oneand, two-and, three-and, four-and, onetwo-three, one-and, two-and, three-and,
four-and, one-two-three, etc. Personally, I dont think about counting the
beats; I prefer to internalize the rhythm
of the phrase until it feels natural to me.
In terms of harmony, my fret hand
outlines an Fsm7 chord by tapping the
notes Fs, A, Cs and E while my pick hand
taps the steady high Fs root note (the ostinato). This carries through bars 14, after
which I switch to Fs major by tapping the
notes Fs, As and Cs, including the fourth,
B, as well. Notice that, as the phrase
moves from bar to bar, I alternately begin
with the two notes tapped simultaneously

Eight-string guitar (tuned, low to high, to E A E A D G B E)

Fig. 1 1 Isolated Incidents q = 156
FIGURE

F#m7

pick-hand

11 11 11 11 11
44 55
5
7

fret-hand

11

11

11 11 11 11
4
7
5
7

11

11

11

Fig. 22 q = 156
FIGURE
1

11

11 11 11 11
4
7
5
7

11

11

11

11
7

11

11
5 5

11 11

11

11

11 11 11 11
9
6
7
7

F#m7

11 11
9
6

11 11 11
4 4
7

7 7

11 11

11

11

11

11

11

11
!
5
!

11
5

N.C.(F#m7)

10

(F#7)

N.C.(D5)

14

11 11 11

7
11

11 11

F#7

11

11 11

2
2

5 5

6 6

6 6 6

5 5 5

5 5

6
6

5 5

and then tapped eighth notes apart.

Of greatest importance when performing this part
is to strive to achieve an even volume among all the
hammered notes. Try to sustain each note into the
next by not releasing it until the next note is sounded.

6 6

6 6 6

(B/D#)

5 5 5

D#5

6 6 6 6

P.M.

6 6

6 6

D5

6 6

5
6 6 5 5

At 0:47, I switch to a heavily distorted tone and

transpose the fret-hand figure down an octave (see
FIGURE 2). After eight bars of 11/8, there is a bar of
2/4, and then I switch to a syncopated figure in 4/4
that emphasizes D and Ef pedal tones.

connect the dots

13
chapter

Analyzing the harmonized melody

lines in Isolated Incidents
In the previous chapter, I
demonstrated the unusual twohand tapping technique that
makes up the first section of the song,
Isolated Incidents, from the latest Animals as Leaders album, Weightless. The
section of the tune that follows features a
transition to a heavily syncopated pedaltone pattern with a single-note melody
played above it. In this chapter, Id like
to go over that single-note melody, as
well as the way in which I harmonize it
when it is repeated.
As shown in FIGURE 1, bars 16
of the melody are played over a low
A pedal tone, with the tonality of A
major implied by the presence of the
major third of the chord, Cs, in the
melody. At this point of the song, the
melody is very straightforward, with
all of the notes falling directly on the
strong downbeats of either one,
two, three or four. The line is
rhythmically simple, too, built from
a combination of half notes, quarter
notes and eighth notes. The slight twist
added here is that I base the lines on
the A Lydian mode (A B Cs Ds E Fs Gs)
instead of the A major scale (A B Cs D
E Fs Gs). The only difference between
Lydian and the major scale is that in
Lydian the fourth degree is raised one
half step, which results in a s4 (sharp
four), Ds in the key of A.
At bar 7, following a single measure of
2/4, the pedal-tone accompaniment shifts
up one half step, from A to Bf, and the implied harmony moves from A major (with
a s4, or s11) to Bf minor. The melody from
this point on is based on the Bf minor
pentatonic scale (Bf Df Ef F Af) and mimics the primary theme of the tune that
was outlined in the opening tapped figure.
Simple as this line may seem, I switch
between accenting notes only on the
eighth-note upbeatson the and counts
between the downbeatsin bars 7, 10 and
11, and accenting notes squarely on the
downbeats in bars 8, 9 and 12. Normally,
these shifts between upbeats and downbeats would sound acceptable and be
easy to comprehend. However, by laying
the aggressively syncopated, Mesuggahlike offbeat line underneath it, I create
rhythmic tension, making the whole thing
sound rhythmically dense.

Eight-string
Eight-stringgtr.
gtr.arr.
arr.for
forsix-string
six-stringgtr.
gtr.

Eight-string
gtr.
arr. for six-string gtr.
1:1:melody
FIGURE
Gtr.
melody
FIGURE
Fig. 111 Gtr.
Gtr.
1:
melody
Eight-string
gtr. arr.
for six-string gtr.
FIGURE
1
N.C.(A5)
N.C.(A5)
six-string

11

Eight-string
gtr.
arr.
for
gtr.
FIGURE N.C.(A5)
1 Gtr. 1: melody

8899
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1:
melody
8
FIGURE
1

1111
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99 !
11
99 six-string
11
Eight-string
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11 arr. for
11
!
1
N.C.(A5)
8
Eight-string
gtr.
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for
six-string
gtr.
8

1:arr.
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FIGURE
1 Gtr.
1Eight-string
11
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11
9
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FIGURE N.C.(A5)
1 Gtr. 1: melody
8 8
1111 Gtr.
55
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FIGURE
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8 22 9Gtr.
8 811 9 9 8
2:2:
harmony
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9 6 8 8
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FIGURE
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harmony

6
8
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96
11 6 9 9
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8 N.C.(A5)
8 8 6
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FIGURE 2 shows the aforementioned harmony

line to the melody in FIGURE 1, which enters at
1:17 on the recording. In bars 17 and the first three
beats of bar 8, I harmonize the melody line a fifth
above each note, diatonic to the previously mentioned scales. For that last note of bar 8, I move up
and double the melody an octave higher, and I stick

with the octave-doubling approach through the

next bar, after which I move back down to a fifth
harmony for one bar and then back to an octave
above for the final two bars.
This is the last chapter in Prog-Gnosis. I hope you
have enjoyed these lessons and have found them useful
and informative. Thanks for watching.