Oh I’ve been using the 2-1-2 arpeggio ever since I got into Devin Townsend, back when he released Deconstruction & Ghost! I wanted to learn Numbered! off of Addicted!! and it has that all the bridge of the song. He also uses this all the way up & down the neck for the second half of the song Ki, and it’s SO much fun to play. He does it all in Open C & Open B, so the shaped are SUPER symmetrical
This was the exact type of lesson i needed this week. Thankful the alrogorithm put this video in my feed. I love the way you explain these concepts and use direction of chord voicings to make it more understandable. Excited to dive more into your content!
I've been going hard on 2-1-2s for the past couple of years and I gotta say, they are a great way of practicing hybrid picking. I owe 100% of my hybrid picking techniques to 2-1-2s.
@@PEAKSocialPresence Yeah, you can do it together in order to pluck multiple notes at the same time. You get a different texture from strumming. But in this case with the 2-1-2 it is meant to do it sequentially. Instead of hitting a string with a pick and then moving on with the pick to the next string. You pick first and then pluck the second string. It is very good for movement efficiency since you dont have to move your hand or wrist, but at the same time it gives you a different texture because plucking with your fingers has a very different kind of attack sound.
Whoa, I learned something similar to this from a Rick Graham video and changed it to the “Tim Miller” way of doing it, all without ever listening/knowing about Tim until now. Crazy.
I heard Tim say he got this idea from saxophone players. Have you done a video on how Sax players approach note selection versus the guitar shape approach? Great breakdown ❤
@@andrefludd Very much so. A short lesson with enough information to keep one busy for a long time. So much to explore! Especially with the note choice and rhythmic variations. Practically infinite variatons if desired Thanks again, Andre. Best regards from Montreal. ~Glenn
Thanks for the pdf...a lot to learn on that page. Also I watched a Tim Miller Truefire course, but his picking patterns didn't stick with me, so thanks for that, too.
I didn't know this was a whole thing. I recently started playing arpeggios this way because I've struggled for years with traditional arpeggios now. I just can't think my two hands up for 1 note per string across 5 or 6 or 7 strings. At least not when played fast. This 212 variant gives my right hand time to catch up or slow down since I can play the second note via a simple hammer-on or pull-off. My favourite arpeggio shape is this: e 13 17 b 15 g 14 18 D 15 A 13 16 E Depending on how you look at it or in which context you use it, it either outlines part of a Phrygian Dominant or of a Harmonic Minor scale. At least that's how I think about that arpeggio.
This was a wonderful lesson video. Very very concise and insightful. I will say that as someone who prefers to read sheet music rather than tabs when learning off videos like these (since I tune a whole step down from standard), the standard notation above was very nice! Would have preferred to see Bb's instead of A#'s on the mixolydian and phrygian examples, but that's not something that duped me twice so it's chill lol
Didn't know this was a whole thing. I recently started playing arpeggios that way. Struggled with standard arpeggios for years. I just can't get my hands to sync up when playing 1 note per string over 5 or 6 or 7 strings. 3 or 4 strings is fine though. Using the 212 variant allows my right hand to catch up or slow down since I can just do hammer-ons or pull-offs for the second note. My favourite shape for that is: e 13 17 b 15 g 14 18 D 15 A 13 16 E It invokes either a Phrygian Dominant or Harmonic Minor scale. Depending on the context you use it or how you wanna look at it. At least that's how I view that arpeggio.
A bit too advanced for me.... but described and demonstrated SO WELL that I definitely see a set of goals to aim towards. I get the 2-1-2 pattern idea. Now, if I can get a better handle on modes, then I can see how this pattern idea can add some real interest to phrasing and fills.
Can you show us how to connect the fret board . I just found your channel and the way you explain really helped me get it . I can play my scales and arpeggios maj and min if I can just see how they get connected and may showing me to play them in different patterns too would be great hope you see this
Great lesson. I have heard of this technique before but didn't really understand it. You explained it so well. Thank you. That Tim Miller Kiesel looks and sounds amazing. What pickups are in it? You said there was a review but I couldn't find it. on RU-vid.
Thanks for the video Andre. Could you please film a review of the Kiesel Tim Miller? I've been interested in one since they were announced, but there are no reviews out there.
Hi,could You do video about harmonic Major? :) ionian b6(and other modes)how to use it in modal and tonal music riffs :) in harmonic Major we have more than one diatonic chord for one degree iv = (f,a flat,c) or (f,a flat,b) whis is diminished chord/dominant without root ii = (d,f,a flat) another dominant without root both dominant are not diatonic for C ionian b6 and what to do? Which scale I should use for diminished chords on iv and ii degree? I = (c,e,g) or (c,e,a flat) which is augmented chord
Hey Andre, I've been considering pulling the trigger on your course in the future when I can afford it, however there was something I wasn't sure of. If I were taking the course, would there be an avenue to contact you and hear back in a reasonable timeframe? (by reasonable timeframe i mean like within a few days barring the circumstances.) Asking so I know what to expect, as while I've always found your teaching style to be the most compatible with my brain, sometimes I just need to hear something re-phrased for it to click.
I do these a lot in my playing without thinking a bout it. Especially with dominant and major 7 chords rooted on the A string. The minor 3rd to the 5th on a string is just too big a stretch.
While I appreciate Tim Miller and the fact that he uniquely does the hybrid picking thing when playing 2-1-2 arpeggios, It would be a shame not to mention that back in the 80's it was Frank Gambale who was the first one put this concept (at the very least commercially) out there. The issue was that the magazine or PR people at the time had asked him to call his sweep picking 'speed picking' as a way to advertise it for shredders, but he came up with it for 'ergonomic efficiency reasons' to have the same picking pattern throughout any arpeggio or modal line he wanted with the least amount of effort.
Very interesting! Can you maybe share where he’s mentioned this? I only ask because I have quite a few of his materials (books and even his newest lessons online) but I haven’t come across this. I’d love to hear his take and also see what ideas he comes up with.
@@andrefludd I can't remember if I saw this in his Troy Grady interview or the first video in his sweep picking course where he explains the history of it.
The tonal pallet that reminds me of is in this song from the band 311...it's called Amber: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SUFSB2plwzM.html
I'm 35 seconds in, don't you think it would be a good idea to turn the delay off? When you are showing how to play something fast, I think it's detrimental to how it actually is, if that is your goal to teach how to actually do it. A little reverb would certainly be good, that doesn't actually add extra notes. JS. 😐
This lesson has nothing to do with playing fast. At 35 seconds I was just in the middle of teaching and decided to show the typical way people approach legato playing.
Why dont u ask them to relocate that jack hole to a more convenient location? You sit a lot, the wire would bug my lap. Also I would break the phone jack after a while or the chord itself. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OkmNaBG2UHQ.htmlsi=a0nY1KJFPRH0VidL
Cool vid at 6:08 putting the 4th in can add a nice color or texture but it doesn't resolve it kinda leaves me feeling another phrase has to be added to resolve it. But a cool way to start a ride and concept 1st time hearing about 212 patterns thanks!
I've only just started learning 7th arpeggios, so I might concentrate on that :D but even though I won't be practising this (at least not now) I still managed to learn a few useful things about guitar playing in general. So once again thanks, your approach to teaching the guitar is excellent.
