Diatonic sequences are powerful tools. Here’s how to use them wisely.

• Understand how to map out the neck in seven positions. • Learn to combine legato and picking to create long phrases. • Develop a smooth attack—even at high speeds.

I prefer to not teach each position based on a modal name, as sometimes they are taught. Personally, I’ve found labelling of positions like that can lead to confusion when learning the modes in a harmonic situation. To further emphasize this, no harmonic context has been given (aside from the fact that these are all based around the parent scale of G Major to give us positions to work with).

The goal here is for you to learn the sequence, pick out what you like from it and then work it into different applications. These applications could be taking a sequence from one position into another position, seeing if you can keep the same contour. Most importantly, you can spend time starting and ending the phrases around certain intervals to emphasize the chord that you’re playing over.

A technical note before we get started: I’ve transcribed the various hammer-ons and pull-offs that I use when playing these phrases at full speed. However, the secondary goal here is for you to find your own way of playing the examples that suit your style and sound. I use a mix of legato, hybrid picking, and sweep/economy picking. My advice is to look at the lines and listen to them. See what feels right for you. Despite what angry YouTube comments might say, technique is feel (and vice versa) We can talk about technique and all the ins and outs of it, but unless we try it and feel how it is to play, we won’t find our own path and sound. We won’t develop our own confidence. As the Zen saying goes, “The thought of your mother is not your mother.”

Let’s start in 3rd position, a fitting way to begin our exploration in G. Ex. 1 is a legato phrase that starts off with an eight-note pattern that repeats across adjacent strings sets. The final measure outlines a G major triad with a trick string-skipping phrase on beat 2.

Working through the diatonic arpeggios is a great way to create new lines and sequences. In Ex. 2, I go through Em7, Bm7, F#m7b5, and Cmaj7 before I outline an Am9 arpeggio.

Rhythmic variety is a crucial part of any well-rounded vocabulary. Moving between different subdivisions is a great way to inject new life into a lick. Ex. 3 moves between straight 16th-notes and sextuplets (or 16th-note triplets). Although the pattern is relatively easy to hear, it moves fast, so focus on discovering the best fingering for you.

Ex. 4 moves around quite a bit, between legato fragments and arpeggio fragments. In the middle we have a classic displaced ascending sequence of fours through the scale that starts in the end of measure 1. We also utilize some slides on different strings. Watch out for this! I’ve found in my playing that timing can go astray on slides.

Ex. 5 is built around finding 3-1-3 and 2-1-2 patterns within this position. These terms are based on the number of notes before you change strings. A 3-1-3 pattern consists of three notes on a string, then one note on the next string, and finally three more notes on the final string. A great example starts on the second note of the phrase (G) and ends on the F# before beat 3.

There are some shifty slides like the last phrase (watch the timing!) and there’s also a mix of legato and picking to emphasize certain parts of the phrase. The line ends with a large arpeggio based on Em7 and F#m7b5. Dig the 2-1-2 phrasing here!

Since we are roughly thinking in the key of G major, Ex. 6 is sometimes referred to as the “minor” position since we start on E, the relative minor of the key. This phrase is built on a sequence based around a 3-1-3 pattern and we aim to keep this sequence going throughout the whole position. This lick is a great one to move around the neck.

Ex. 7 runs away with an initial legato sequence similar to the one found in Ex. 4, however we keep it going through the whole position before ascending through a fragment based on Ex. 1. Then I fill in the gaps of each phrase with some chromatic notes. The goal here is to aim for evenness of timing on the 16th-notes.

With these licks—or even parts of them—you will be able to navigate the fretboard with ease. Just remember: These licks are simply raw materials. It’s up to you to make music out of them.

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Welcome to Recording Dojo—PG’s new monthly column pertaining to recording and engineering, with guitarists in mind. Think of this column as your place to develop better audio-recording skills, experiment with new techniques and gear and, most importantly, mindsets. So bring your best self forward and your willingness to learn … the dojo is now open.

Let’s begin our training with compression: a confusing topic for guitarists as players and as engineers wanting to make their recordings more professional. Compression has five core parameters: threshold, knee, attack, ratio, and release—or TKARR. I’m going to explain this metaphorically, as if you are at a major event, say, the Grammys, and you’ve just won. You’ve condensed a lifetime of “I’d like to thank” into 15 seconds, and you’ve been regally whisked offstage by an anonymous beauty in a ball gown.

The next thing you’re instructed to do is leave backstage, go through the giant ballroom (where a band is playing and people are partying), and go to the press room for photo ops and post-win interviews. You walk down the long hallway towards the ballroom door, where a burly 6'8" doorman stands behind velvet ropes. The doorman is the threshold and the velvet ropes are the knee.

In order for you to get into the ballroom, the doorman has to let you in. As you arrive at the door, he takes his hands off the ropes (hard knee), crosses his arms, coldly stares at you, and says, “What are doing here? This is for Grammy winners only.” Ouch! He doesn’t recognize you. He only listens to Siberian reggae bands. High threshold. So high that you can’t pass though. Conversely, if, as you approach, he gently unfastens the ropes (soft knee), says “I’m a huge fan,” and moves aside without you having to break stride, you have crossed the threshold and are now inside the ballroom. This is a well-set threshold, only allowing in those who are authorized. Or perhaps, as you arrive at the ballroom entrance, you notice that the doorman has passed out, the ropes have long been knocked over (no knee), and anyone can enter. Low threshold.

As soon as you enter the ballroom, within a millisecond, a waiter comes up to you: “Champagne? The press room is on the other side of the ballroom.” That’s quick attack. You notice there’s a string quartet playing Haydn’s Op. 76, and the volume is comfortably loud (low ratio, somewhere between 1.5:1 to 4:1). Almost as soon as you enter the ballroom, you’ve got your libation and move directly to the press room—quick release. You arrive at the press room with your wits about you, ready to talk about your big win.

Or, upon entering the ballroom, you mill around in the crowded room looking for directions and you’re in the middle of the ballroom before a waiter comes up to you and shouts: “Drink? Press room is over there.” That’s medium attack. The band is an ’80s cover band and the volume is rather loud for the room (medium ratio, 5:1 to 9.5:1). You eventually find your way to the press room and arrive slightly stunned, but ready.

Another version: Upon entering the ballroom, you’re immediately lost in a sea of people, shouting for directions and hopelessly trying to be heard above the Mötorhead tribute band. Your ears are ringing. Time passes, and you somehow find the press room door and a waiter shoves a drink in your hand just before you leave the ballroom. Slow attack. You arrive, dazed and confused, in the press room (high ratio, 10:1 and above).

These simple scenarios should help you understand the parameters of compression. It’s very important you know that all of these scenarios are equally and musically valid, and by no means exhaustive. Want that “When the Levee Breaks” drum sound? Low threshold, high ratio, quick attack/release. Want your acoustic to sound natural and dynamic? High to medium threshold, medium attack/release, medium to low ratio. Remember, the focus of this article is to explain the five parameters of compression (TKARR). Based on their highly varied and different designs, not all compressors give you access to every parameter. So, this will be our subject next month!

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