Hey, I'm trying to master sweep picking, but I can't sweep a bar. Any techniques I don't know about?

or this one:
Just go slow and really nail down the finer movements. Like an up then down stroke for the 17-14 of the second arpeggio instead of a pull-off. At least that's how I do it anyway.

Make sure you're muting the strings properly as well- that's very important if you want it to sound good.

Sweep picking at lower tempos is a pain in the ass, but the effort is worth it. Once you get comfortable with the basic shapes you can start linking arpeggios together with other things.

Write your own bars of arpeggios and drill them- just keep musicality in mind while you do this too- how are you going to use this in a song?

Yngwie Malmsteen has some songs which I find to be good sweeping exercises. Try Presto Vivace for something pretty standard and then you can move on to something like Caprici Di Diablo with sixteenth note triplets(?) mixed in. The solo to Demon Driver is another one, but I personally hate that song because of the singing.

Just remember to play cleanly, not quickly. Speed comes with accuracy.
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Last edited by JimDawson at Dec 13, 2012,
A finger in-of-itself can be divided into three sections, separated by knuckle joints. We're going to use different parts of the very-upper section (that with a nail, tip and pad) to fret each of these strings one by one. When I say ''pad'', I'm referring to the finger's underside; the same part you might use to wipe your eye.

What we need to do is grant this section of finger a position allowing three different portions of it to fret each respective string cleanly; we're dividing the section of finger up into three even smaller sections, each designated it's own job. If we're playing across three strings on the same fret, as in your first example we'll be using:

1) the fingertip for the third (G) string;
2) the finger pad for the second (B) string; and
3) the knuckle for the first (E) string.

If each portion has a clearly defined role, we won't have to worry about identity crises later on.
What we're aiming for is a rolling motion to allow the finger to sound each string one by one. This is comparable to the motion of a rocking chair. Set your finger up in the way described above, so that each sub-section of your finger can touch each respective string.

Now, let's not worry about rolling across all three strings - let's try two at a time, and then tie those ideas together, for a more concentrated practice regiment.
Start by fretting with your fingertip on the third string, then roll, with a slight, sympathetic movement of the wrist, your finger so that your finger pad frets the second string, and your fingertip lightly touches the third string from underneath. This ''light touch'' will mute the third string and prevent any extraneous noise from ringing out.
Repeat this process slowly a few times; 10 repetitions that are slow and accurate will be much more beneficial, and much less frustrating, then 100 repetitions with problems.
The next step is to fret the first string with the knuckle-joint of your finger (this is a mild approximation, depending on your finger's size), and roll your finger in a see-saw motion so that your knuckle is relieved of effort upon the first string, while your finger pad simultaneously offers an effort upon the second string. Again, repeat this a few times in slow, consciously controlled repetitions; it'll all come together soon!

Once you have these two halves comfortable and feeling confident, tie them together, keeping in active thought the mechanics behind the movements.

As a side-note, the same principle applies in your second example, though you only need use the fingertip and fingerpad for a successful roll.

If I can clarify anything in this post, please feel free to ask.
Last edited by juckfush at Dec 13, 2012,