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Well, when FG uses "extreme sweeping" it still sounds different than when just about everybody else do it. It's because what he plays. I remember I watched a lesson where Andreas Oberg explained a FG sweep lick. It had suspended structures and a lot of other things in it. QUITE different from the two or three octave major and minor triad arpeggios you hear most shredders play. Sweeping for some reason has become synonymous with that. Not that there is anything wrong with it, except in a jazz context it sounds contrived and out of place.
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01-18-2014 11:29 AM
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there were already several examples of sweep technique demonstrated by pat martino . They are not contrived and out of place. You are confusing the technique with a particular implementation of the technique.
Originally Posted by AmundLauritzen
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I use a lot of sweep picking in this solo...
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The Kreisberg clip at 6:00 - that's alternate picking.
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Echoing Bako, I think the most musical answer to the question may be:
What lines do I want to play?
And from there, search for different modes of execution with hands, fingerings, pick directions, etc, and find what may be best.
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"Sweep picking" is a somewhat vague generalization for a technical process - my interpretation of it is: mostly one note per string in a line and consecutive downstrokes when moving towards thinner strings, consecutive upstrokes when moving towards thicker strings, and 'hammer on' or 'pull off' when dealing with more than one note per string. I also think sweep picking is considered to be mostly one note per string in a line. This combination of processes does produce a significant timbre and it is also is a convenient way to play a group of notes quickly.
If these criteria serve the demands of the line, then I don't see why you wouldn't use it.
I'd like to think in an ideal musical sense, the question is always:
What line do I want to play?
And the search for technique is used to serve that line.
Personally, in a jazz setting I do use the technique to play some parts of lines and heads, I find it useful.
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Sweep picking is the only way I can manage to play the last few bars of "Inner Urge"
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Hello Stu, Originally Posted by Stu Foley
I have to say that as with many of my books, I read the Jim Ferguson book (which I bought 3 years ago) to understand what he was trying to teach, and now just use it to augment whatever I am working on or may need to do at any given moment in time. For instance, if I am going to jam with a friend, I might go back to his book for the chords shapes and a particular progression or two, and use it to comp for my friend(s).
For walking bass lines, I was spending 15 minutes a day using examples from this book:
http://www.amazon.com/Fingerstyle-Ja.../dp/0786603143
I still really like this technique and will go back to it, sticking only to a quick 5 minute per day "maintenance" exercise.
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Thanks for posting that. Originally Posted by jzucker
What a great demonstration of how seamlessly one can inject sweep picking into their playing. Magnificent.
This thread has made me a believer.
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Barney Kessel was a sweeper, I saw him 3 time in one week and talked to him after the gigs, he was very nice to a goofy kid.
He had a pattern on tunes, at least for those gigs, he started with a few chorus of single notes, then octaves, then chord melody and then go to sweeps. They didn't have the degree of precision you see today, but, it was very expressive of strong and wild emotional
This was in Fla and even though he was always sweating he wore a sports coat and a scarf around his neck and I remember thinking the sweeps were like some bohemian jazz thing, I had no idea what that might mean,it just seemed to fit
To me its works a few ways in jazz and it does work with sax like lines like the head of Joy Spring for example
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Every technique is important to me. I use classical techniques in fingertyle blues.
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