In this classic Steve Morse lesson, learn an approach to chord playing inspired by Johann Sebastian Bach’s chorales. Shares This column is taken from the May 2007 issue of Guitar World. Guitar By Dixie Dregs and Steve Morse Band. Play It Like It Is. With guitar tablature. Published by Cherry Lane Music (HL.2500846). Item Number: HL.2500846. 13 rockin' guitar transcriptions of Steve's playing in Dixie Dregs and the Steve Morse Band. Includes: Cruise Control. General Lee.
Last updated on April 13, 2019
If you’re a fan of Steve Morse’s playing, one of his most prominent techniques is alternate picking arpeggios instead of sweeping them. I think this is a great technique to have under your belt as it really heightens the dexterity of your picking hand, as well as giving that sweep-picking sound without having to learn to sweep pick. I personally prefer the sound of alternate picking arpeggios to sweep-picking arpeggios as they’re not as obvious-sounding as when you change to sweep-picking on the fly. I remember my first guitar teacher showing me these exercises in the early 90s, but it was a fair few years later before I discovered the benefits of them.
Steve Morse Guitar Lesson Pdf Lesson
Alternate Picking Arpeggios provide a gratifying workout for your picking hand, as well as improving your overall hand coordination no end. If you’re new to this technique, it basically involves alternate picking an arpeggio instead of sweep-picking it; that’s really all there is to it. This exercise also adds another dimension to your alternate picking as you’re going from linear scalar-type picking to applying vertical movement to alternate picking.
To get this technique going, I like to start off with a pattern across three strings, then add in the others. There are a couple of benefits here: a) you won’t get frustrated by starting off with a big shape, and b) you’ll practice all the nuances of changing strings on an upstroke and a downstroke.
Here’s the first pattern (we’ll use an A Major arpeggio as you’ll see by pattern 4). Whenever I can, I like to use these numbered diagrams instead of tab or notation as a lot of people seem to like them. Simply follow the number sequence and repeat it ad nauseam using alternate picking starting on a downstroke.
Pattern 1
Steve Morse’s 80/20 Rule
I like Steve Morse’s 80/20 rule when learning a lick or run which is to play at slowly 80% of the time without making any mistakes, but play it as fast as you can 20% of the time so that you have the experience of both and they eventually meet in the middle.
Pattern 2
Once you’re ripping through pattern 1, or you’re comfortable with it, try pattern 2, again starting on a downstroke and following the number sequence:
Pattern 2 probably slowed you up a little; this is because the picking sequence from pattern one is now reversed. Don’t worry, this is intentional and will help you work through the nuances of alternate picking required to perfect this technique.
Pattern 3
For pattern 3 we add another note and reverse the picking of the previous pattern again. Follow the number sequence (1-11 here) starting on a downstroke.
And finally, here’s Pattern 4 which is the complete A Major arpeggio:
At this point you should be fairly comfortable with the technique and be able to execute this arpeggio consistently at a good speed. Try moving it up and down the fretboard to expand the technique to all fret sizes, then you could follow the same procedure for any other arpeggio shapes you like the sound of. If you want a more in depth look at this technique, check out Troy Grady’s reverse engineering of it with the man himself.
more... Lessons • Electric Études • Lead • Rhythm • Rock • Tab • Steve Morse • Sound Samples
Chops: Advanced
Theory: Intermediate
Lesson Overview:
• Create triad-based rhythm riffs.
• Learn how to develop chromatic lines.
• Strengthen your picking technique.
For this installment of Electric Etudes we’re going to take a look at the music of Steve Morse, one of the most versatile rock guitarists in history. Morse is known for his exceptional rock technique, but he’s equally at home playing country, bluegrass, jazz, or classical.
Morse first established his reputation via the Dixie Dregs, a rock-inspired jazz group that he formed shortly after graduating from the University of Miami with bassist Andy West. The band released several critically acclaimed albums, and then disbanded following 1982’s Industry Standard. During the ’80s, Morse recorded a string of solo albums, and then joined the prog-rock band Kansas in 1986.
In 1994, Morse joined Deep Purple after original guitarist Ritchie Blackmore departed. (Joe Satriani replaced Blackmore for a portion of The Battle Rages On tour.) After recording five studio albums, seven live albums, and performing countless shows, Morse has now occupied Deep Purple’s guitar chair longer than Blackmore.
A master technician, Steve Morse is lauded for his impressive picking chops, ability to create flowing lines, and playing arpeggios at blistering speed—check out this video of “Tumeni Notes.”
YouTube It
Morse also makes use of artificial harmonics, open chord voicings, synth-like tones, and pad-like swells. One of the best examples of his country influences is “The Bash,” a two-beat country jam from the 1979 Dixie Dregs album, Night of the Living Dregs. His unique approach also crossed over to the construction of his instrument. In his search for an instrument to cover rock and country tones, Morse configured a Tele with two humbuckers and two single-coils. This instrument served as the inspiration for his current Ernie Ball signature model axe.
For our lesson track I was inspired by “Take It Off the Top,” “User Friendly,” and “Stressfest.” Throughout this example I’ll demonstrate picking sequences, triad-based riffs, and a bluesy solo that incorporates chromatic picking lines and country-inspired bends.
Steve Morse Guitar Lessons
Click here for Ex. 1
Steve Morse Music Man Guitar
The example kicks off with a 16th-note picking sequence over D5 and E5 chords. The sequence outlines D Lydian (D–E–F#–G#–A–B–C#) over the D5 chord and E Mixolydian (E–F#–G#–A–B–C#–D) over the E5 chord. I’ve also doubled the picking figure with a piano, as Morse often blends a synth sound with his guitar signal. Notice that every note is picked—a hallmark of Morse’s style—but if the tempo is too challenging it could help to include some pull-offs.
The verse riff is almost entirely based around a series of triads similar to what you might hear on Morse’s “Take It Off the Top.” It starts with the V, IV, and I triads in the key of A (E, D, and A, respectively) before borrowing a pair of chords from the key of F (F/A and C/G). The verse concludes with a descending unison lick that flows through the E minor pentatonic (E–G–A–B–D) scale. This section repeats again—with a slight variation—before going into an interlude ahead of the solo.
In the middle section the rhythm guitar plays around with quartal harmony, or chords stacked in fourths instead of thirds. When you listen to the backing track you can hear how these shapes produce a very modern, ambiguous sound. The main guitar works up the neck with a series of angular arpeggios. In the final two measures before the solo, check out the triplet-based lick that outlines an A major triad (A–C#–E) and a B major triad (B–D#–F#).
The solo begins with some country bends that mix major and minor pentatonic sounds. Hold the 2nd string bend with your middle and ring fingers while reaching for the notes on the 1st string with your pinky and index fingers—very Nashville. Morse’s speed-picking chops come into play with a fast alternate-picked line that leads into a simple blues lick based in the E minor pentatonic box. Check out the E note played on the 6th string—try to grab that with your thumb. The next two measures feature a signature, twisted blues lick that combines elements of the Dorian and blues scales. Finally, the solo ends with another palm-muted lick that offers plenty of chromaticism.
As I mentioned before, Morse isn’t afraid to chart his own path when it comes to his gear. Usually, Morse uses his signature Ernie Ball guitar with a few of his signature E656 Engl amps. The amps are configured in a wet/dry setup, and Morse controls the delay through the wet amp via an Ernie Ball volume pedal. For this session I used my Music Man Axis Super Sport (fitted with DiMarzio 36th Anniversary PAF pickups) through a Marshall JMP1 tube preamp. I kicked on a Wampler Plexi-Drive for the solo. There was also some delay added during mixing.