This is really the cherry on top of the cake when it comes to metal playing - arpeggios. Where would metal be without them?

Randy Rhoads must get a mention here because he brought arpeggios into metal in a way that changed everything (particularly as Ozzy Osbourne songs we're so commercially successfull!) and it's hard not to get excited about what's possible with this technique.

We're back in E minor for this one with a new jam track that has a little Iron Maiden gallop to it, so there's a bit of Randy Rhoads over Iron Maiden going on, which is a great combination.

What You'll Learn

•       E minor and D major arpeggio shapes high up the neck

•       How to use pull-offs and specific picking patterns to navigate the shapes cleanly

•       How to cycle arpeggios in time over the E minor jam track

•       An introduction to sweep picking within the arpeggio context

•       How to mute trailing strings for a clean, smooth sweep sound

In Detail

E minor and D major arpeggio shapes high up the neck

The E minor arpeggio starts at the 19th fret of the high E, pulling off to the 15th, then picking across to the B and G strings. The D major arpeggio follows a similar fingering approach but resolves to a major sound. Working this high up the neck gives the arpeggios a really dramatic, vocal quality that sits beautifully over the E minor track.

How to use pull-offs and specific picking patterns to navigate the shapes cleanly

The arpeggios use a combination of pull-offs and carefully directed up-picks to move through the shape without muddying the sound. I break down the picking for each variation in detail, down pick, pull-off, up pick, so you always know which direction the pick is travelling and why. Getting this right is what makes arpeggios sound fluid rather than clunky.

An introduction to sweep picking within the arpeggio context

Sweep picking is the technique of using a single continuous pick motion across multiple strings rather than picking each one individually. I introduce it here within the arpeggio shapes, showing how a downward sweep naturally follows from the pull-off-and-up-pick motion you've already learned. It's a taste of where this can go with more practice, and it's really exciting.

How to mute trailing strings for a clean, smooth sweep sound

One of the biggest challenges with arpeggios and sweep picking is stopping previously played strings from ringing on and creating a muddy mess. I show the technique of leaving the trailing fretting finger lightly in contact with the string as you move away, gently muting it as you continue up or down the arpeggio. Your picking hand can also help by keeping the lower strings damped when you're playing higher up.