Technique > Technique exercises 1
The following examples aren't so catchy. You'd have to consider them as
strange groups of notes... very far from music... however a good chance to
play something different.
Example 1
-
--------
I find this exercise of sweep picking very funny because involves a difficult
widening of the left hand with a simple repetitive 2 1 4 (4 1 2) scheme of
fingering.
n n n n n n v v v v v v
[-------------|---------9-|-15p9-------|-----------| |------]
[-------------|------12---|------12----|-----------| repeat |------]
[-------------|-9h15------|---------15-p-9---------| then |------]
[----------12-|-----------|------------|---12------| go |------]
[-----9h15----|-----------|------------|------15p9-| ---> |------]
[--12---------|-----------|------------|-----------| |-12~~-]
2 1 4 2 1 4 2 1 4 1 2 4 1 2 4 1 2
UP
Example 2
------------
This sweep is based over the G7 diminished and it's look like an arpeggio.
Anyway good picking.
v n v v v v n v v v n v n n n v n n n
[--15-12-9----|------------|-----------|-----------|-------------|-
[----------11-|------------|-----------|-----------|----------11-|-
[-------------|-12---------|-----------|-----------|-------12----|-
[-------------|----14-11-8-|-----------|---------8-|-11-14-------|-
[-------------|------------|-10--------|------10---|-------------|-
[-------------|------------|----12-9-6-|-9h12------|-------------|-
4 2 1 2 3 4 2 1 2 4 2 1 2 4 2 1 2 4 3 2
n v n v
-|-9-12-15p12-| |------]
-|------------| repeat |-11~~-]
-|------------| then |------]
-|------------| go |------]
-|------------| ---> |------]
-|------------| |------]
1 2 4 2 1
UP
Example 3
------------
This is a warm up exercise over the hyper-chromatic scale !?!? Repeate it
trying to shift left of position.
v n v n n n n v n v n v v v n v n n n n
[--------------|-------------|-------------|-------------|-------------|-
[--------------|-------------|-------------|-------------|----------15-|-
[--------------|-------15-17-|-21-17-15-19-|-------------|-------17----|-
[--------------|----17-------|-------------|-17----------|----19-------|-
[--------------|-19----------|-------------|----15-17-19-|-21----------|-
[--15-17-19-21-|-------------|-------------|-------------|-------------|-
1 2 3 4 3 2 1 2 4 2 1 3 2 1 2 3 4 3 2 1
v n v n v v v n v n n n n v n v n v v v
-|-------------|-------------|-------------|-15-17-21-17-|-15-19-------|-
-|-17-21-17-15-|-19----------|----------17-|-------------|-------17----|-
-|-------------|----17-------|-------19----|-------------|----------15-|-
-|-------------|-------15-17-|-19-21-------|-------------|-------------|-
-|-------------|-------------|-------------|-------------|-------------|-
-|-------------|-------------|-------------|-------------|-------------|-
2 4 2 1 3 2 1 2 3 4 3 2 1 2 4 2 1 3 2 1
n v n n n v n v n v n
-|-------------|-17-15-21-20-|-19-18-17--]
-|----------19-|-------------|-----------]
-|-17-19-21----|-------------|-----------]
-|-------------|-------------|-----------]
-|-------------|-------------|-----------]
-|-------------|-------------|-----------]
2 3 4 3 2 1 4 4 3 3 2
UP
Example 4
------------
This sweep picking sounds very cool. The left hand moves on a position like
the diminished one but through the chords of G11 and C11. In the 8th and 9th
bar there are 5 notes, so I've tryed to give a rhytmic division, meaning that
the note underwritten with a "(" is half time long that the one underwritten
with "$".
G11 C11
n n n v n n n v n n n
[-------------|------------|------------|------------|-------------|-
[-------------|------------|------------|------------|-------11h14-h-
[-------------|------------|-------9h12-h-15p12p9----|----12-------|-
[--------9h12-h-15p12p9----|----12------|---------12-|-15----------|-
[-----12------|---------12-|-15---------|------------|-------------|-
[--15---------|------------|------------|------------|-------------|-
4 2 1 2 4 2 1 2 4 2 1 2 4 2 1 2 4 2 1 2
v n n n t v v
-|-------------|-------12h15-h-18p15p12h15h18-t-21p18p15p12----|------]
-h-17p14p11----|----14-------|--$--$--$--(--(-|--(--(--$--$-14-|------]
-|----------12-|-15----------|----------------|--------------$-|-15~~-]
-|-------------|-------------|----------------|----------------|------]
-|-------------|-------------|----------------|----------------|------]
-|-------------|-------------|----------------|----------------|------]
4 2 1 2 4 3 1 2 4 2 1 2 4 M 4 2 1 2 3
UP
Example 5
------------
This picking is based over an A harmonic minor scale. You can play it in
groups of four notes even if I prefer to perform it in triplets.
n v n v v n v n v n v n v n v n v n
[----------|----------|---------|-------12-|----13---|-16----17~~-]
[----------|-------12-|----13---|-15-------|---------|------------]
[--10-13-9-|-14-------|---------|----------|---------|------------]
[----------|----12----|-10----9-|----------|---------|------------]
[----------|----------|---------|----12----|-11------|------------]
[----------|----------|---------|----------|------13-|----12------]
1 4 1 4 2 3 1 4 1 4 2 3 1 3 2 4 1 4
UP
Example 6
------------
This picking shows a little chromatism over the B major chord.
n n n v n v n v n v n n n n v n v n v n v n
[--7^7-----|----------|-----------|--7^7-----|----------|------------]
[--7^7-----|----------|-----------|--7^7-----|----------|------------]
[--8^8-----|----------|-----------|--8^8-----|----------|------------]
[--9^9-x-x-|---9---10-|---11---12-|--9^9-x-x-|---9---10-|---11---12--]
[--9^9-x-x-|-9---8----|-7----6----|--9^9-x-x-|-9---8----|-7----6-----]
[--7^7-x-x-|----------|-----------|--7^7-x-x-|----------|------------]
2 2 1 3 1 4 1 4 2 2 1 3 1 4 1 4
UP
Example 7
---------
Actualy this exercise of sweep picking, even from the first notes seems to be
exaggerated, in fact E and F at the 12th and 13th fret may be played on the A
string at the 7th and 8th fret avoiding an inconvenient position for the left
hand. I've found this lick trying to beat out by picks, legatos and slides an
idea I had in my mind, so the "exaggerated legatos" need to be kept as they
are.
n n n v n n n v v n v v
[-------------|-------------|-------------|-------------|-------------|-----]
[-------------|-------------|-17h18p17----|-------------|-------------|-----]
[-------------|----------14-|----------17-p-14----------|-------------|-----]
[-------------|-10-14-15----|-------------|----15-14\10-|-------------|-----]
[----------12-|-------------|-------------|-------------|-12----------|-----]
[--8h12h13----|-------------|-------------|-------------|-----13p12\5-/-8~~-]
1 3 4 3 1 3 4 1 3 4 3 3 1 2 1 1 3 4 2 2 2
UP
Example 8
------------
This exercise serves to improve the indipendence between the left hand's
fingers. In fact it's easy to go quickly "up and down through the scales", but
play close note with lightly different fingering beteewn string and string
isn't banal at all, aboveall if we want to keep the rhytm.
n n n v v n n n n n v v
[-----------|-----------|---------|-----------|---------|---------|---------|-
[-----------|-----------|---------|-----------|---------|---------|---------|-
[-----------|-----------|---------|-----------|---------|-7h8p7---|---------|-
[-----------|-9h10p9----|---------|------9h10-|-----5h8-|-------8-p-5-------|-
[------7h10-|--------10-p-7-------|-7h10------|-5h6-----|---------|---6p5h6-|-
[--7h8------|-----------|---8p7h8-|-----------|---------|---------|---------|-
1 2 1 4 3 4 3 4 1 2 1 2 1 4 3 4 1 2 1 4 3 4 3 4 1 2 1 2
n n n n n v v n n n n v
-|---------|----------|-----------|---------|-----------|---------|---------|-
-|---------|----------|-----------|---------|-----------|---------|---------|-
-|-----7h8-|----------|-9h10p9----|---------|------9h10-|---------|---------|-
-|-5h8-----|-----7h10-|--------10-p-7-------|-7h10------|-----7p5-|-6h8~~~--|-
-|---------|-7h8------|-----------|---8p7h8-|-----------|-5h8-----|---------|-
-|---------|----------|-----------|---------|-----------|---------|---------|-
1 4 3 4 1 2 1 4 3 4 3 4 1 2 1 2 1 4 3 4 1 4 3 1 2 4
n n v
-|---------|----------| |---------]
-|---------|----------| repeat |-4-------]
-|---------|----------| then |-3-------]
-|-----5p3-|-5h6~~~---| go |-5h6p5~~-]
-|-3h4-----|----------| ---> |-3-------]
-|---------|----------| |---------]
1 2 3 1 3 4 4 3
UP
Example 9
---------
This exercise, performed on the tree lower strings only, is based on the G
major scale. It's made up by a series of changes between crescent position of
the scale. For every position we can distinguish a dissendent phase, in which
all the notes of the scale are picked, and an asending phase, in which only
certain notes are arpeggioed.
v n v v n v v n v n n v n v v n v v n v n n v n v v
[----------|---------|---------|---------|---------|---------|---------|-
[----------|---------|---------|---------|---------|---------|---------|-
[----------|---------|---------|---------|---------|---------|---------|-
[--5-4-2---|---------|-------4-|-7-5-4---|---------|-------5-|-9-7-5---|-
[--------5-|-3-2-----|-----5---|-------7-|-5-3-----|-----7---|-------9-|-
[----------|-----5-3-|-2h7-----|---------|-----7-5-|-3h8-----|---------|-
4 3 1 4 2 1 4 2 1 4 2 1 4 2 1 4 2 1 4 2 1 4 3 1 4 2 1 4
n v v n v n n v n v v n v v n v n n v n v v
-|---------|----------|-----------|----------|-----------|------------|-
-|---------|----------|-----------|----------|-----------|------------|-
-|---------|----------|-----------|----------|-----------|------------|-
-|---------|--------7-|-10-9-7----|----------|---------9-|-12-10-9----|-
-|-7-5-----|------9---|--------10-|-9-7------|------10---|---------12-|-
-|-----8-7-|-5h10-----|-----------|-----10-8-|-7h12------|------------|-
2 1 4 2 1 4 3 1 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1 4
n v v n v n n v n v v n v v n v n n
-|------------|------------|-------------|-------------|-------------|-
-|------------|------------|-------------|-------------|-------------|-
-|------------|------------|-------------|-------------|-------------|-
-|------------|---------10-|-14-12-10----|-------------|----------12-|-
-|-10-9-------|------12----|----------14-|-12-10-------|-------14----|-
-|------12-10-|-8h14-------|-------------|-------14-12-|-10h15-------|-
2 1 4 2 1 4 2 1 4 2 1 4 2 1 4 2 1 4 3 1
v n v v n v v n v n n v n v v n v v n
-|-------------|-------------|-------------|-------------|-------------|-
-|-------------|-------------|-------------|-------------|-------------|-
-|-------------|-------------|-------------|-------------|-------------|-
-|-16-14-12----|-------------|----------14-|-17-16-14----|-------------|-
-|----------15-|-14-12-------|-------15----|----------17-|-15-14-------|-
-|-------------|-------15-14-|-12h17-------|-------------|-------17-15-|-
4 2 1 4 3 1 4 3 1 4 2 1 4 3 1 4 2 1 4 2
v n n n n n v v v v v v
-|-------------|----------15-|-19p15-------|-------------|----]
-|-------------|-------15----|-------15----|-------------|----]
-|-------------|----16-------|----------16-|-------------|----]
-|-------------|-17----------|-------------|-17----------|----]
-|-------14h17-|-------------|-------------|----17p14----|----]
-|-14h15-------|-------------|-------------|----------15~~~~--]
1 2 1 3 3 2 1 1 4 1 1 2 3 3 1 2
UP
Example 10
----------
Here's a "greedy" exercise. First of all it's played over beautifull notes,
they are only some of a minor scale and this create an atmosfere suspended
and pressing (I feel it so). Then it's easy because they are tree notes for
string, played in triplets, and even with pull offs and hammer ons that
semplify the performance.
n n n n n n t
[--------|--------|---------|---------|----------|-12h13h15-t-18p15p13-|-
[--------|--------|---------|---------|-13p11h13-|----------|----------|-
[--------|--------|---------|-9h10h12-|----------|----------|----------|-
[--------|--------|-10p8h10-|---------|----------|----------|----------|-
[--------|-7h8h10-|---------|---------|----------|----------|----------|-
[--8p6h8-|--------|---------|---------|----------|----------|----------|-
3 1 3 1 2 3 3 1 3 1 2 3 3 1 3 1 2 3 M 3 2
v v v n v n v n
[--12--------|----------|-------------|---------|---------|--------|--------]
[-----13hp14-|----------|-------------|---------|---------|--------|-11-----]
[------------|-12p10h12-p-(10)\9h10p9-|----10p9-|----12p9-|--------|-9------]
[------------|----------|-------------|-10------|-10------|-10\8~~-/-10-----]
[------------|----------|-------------|---------|---------|--------|--------]
[------------|----------|-------------|---------|---------|--------|--------]
1 3 4 2 1 2 1 1 2 1 2 2 1 2 4 1 2 2 213
For a more technical study I advise to perform the lick in quadruplets instead
of triplets, however keeping pull offs and hammer ons.
UP
Example 11
----------
This lick is based on the C pentatonic scale. I learned the first part from
works of ather guitarists.arristi.
n n v n v n n v n v v
[------------|------------|-----------|------------| |----------|-
[------------|------------|-----------|------------| repeat |----------|-
[--12p8-12p8-|----11p8----|-10p8-10p8-|----11p8----| then |----------|-
[------------|-10------10-|-----------|-10------10-| go p-8--------|-
[------------|------------|-----------|------------| ---> |---10p8\6-h-
[------------|------------|-----------|------------| |----------|-
4 1 4 1 2 3 1 2 2 1 2 1 2 3 1 2 1 2 1 1
n n
-|-----------|-------------]
-|-----------|-------------]
-|-----------|---------12~-]
-|-----------|-8h10/13-----]
-h-10p6h8/10-|-------------]
-|-----------|-------------]
4 1 2 2 1 2 2 1
I was stuck by the rhytmical intention of the first four bars, in fact I
improvise the same rhytmics but with other notes, like in the following
example.
UP
Example 12
-------------
This lick is like the preceding one, but it's performed on the E pentatonic
scale.
n n v n v n n v n v
[--15p10-15p10-|----12p10----|-13p10-13p10-|----14p10----| |-
[--------------|-12-------12-|-------------|-12-------12-| repeat |-
[--------------|-------------|-------------|-------------| then |-
[--------------|-------------|-------------|-------------| go |-
[--------------|-------------|-------------|-------------| ---> |-
[--------------|-------------|-------------|-------------| |-
4 1 4 1 2 2 1 2 3 1 3 1 2 4 1 2
v n v n
-|---------------|--------------]
-|-(12)/15p12----|-15p12--------]
-|------------14-|-------14-16--]
-|---------------|--------------]
-|---------------|--------------]
-|---------------|--------------]
2 2 1 2 3 1 2 4
UP
Example 13
----------
This lick is based on the D major scale, and it's made up by sextuplets played
with a repetitive pattern of fingering and picking.
n v n n v n n v n
[--------------------|-------------------|-------------------|-
[--------------------|-------------------|-------------------|-
[--------------------|-------------------|-14h18p14----14h18-|-
[--------------------|-12h16p12----12h16-|----------16-------|-
[--12h16p12----12h16-|----------14-------|-------------------|-
[-----------14-------|-------------------|-------------------|-
1 4 1 2 1 4 1 4 1 2 1 4 1 4 1 2 1 4
.
n v n n v n v n v
-|-------------------|-17h21p17----17-21-|-21b(22)r21p17-|------]
-|-15h19p15----15h19-|----------19-------|---------------|-19~~-]
-|----------16-------|-------------------|---------------|------]
-|-------------------|-------------------|---------------|------]
-|-------------------|-------------------|---------------|------]
-|-------------------|-------------------|---------------|------]
1 4 1 2 1 4 1 4 1 2 1 4 4 1 2
In my opinion it's very nice (also because I've found it out "in the first
period". Note at the end of the 5th bar the staccato played at 21st fret that
introduce the conclusive bending.
UP
Example 14
-------------
A sweep on LAm11 introduce a dessendent sweep with the same fingering, but
shifted of one string, that ends in E. Mind the time: every bar is 5/4.
n n n n v v v v n n n n v v v v n v v
[-----------7-h-10p7--------|----------7-h-10p7--------|------------|-
[---------8---|------8------|--------8---|------8------|-7h10p7-----|-
[-------9-----|--------9----|------9-----|--------9----|--------8---|-
[--7h10-------|----------10-|-7h10-------|----------10-|----------9-|-
[-------------|-------------|------------|-------------|------------|-
[-------------|-------------|------------|-------------|------------|-
1 4 3 2 1 4 1 2 3 4 1 4 3 2 1 4 1 2 3 4 1 4 1 2 3
v n
-|------------]
-|-------9^9--]
-|-------9^9--]
-|-------9^9--]
-|-10p7--7^7--]
-|------------]
4 1
UP
Example 15
----------
This E7 sweep (don't perform it too quick) create a particular effect, almost
of slowdown. During the arpeggio groups of two equal notes are consecutively
played in a 3/4 rhytmical, breaking then the cadence of the time that we
aspect to hear every four notes, aboveall because of the regolarity of what we
are playing: groups of two notes.
*(8va)
n v n v n v n v n v n v n v v n
[----------|---------|-------|-------|-(10)/12p10----|------------]
[----------|---------|-------|---9-9-|------------12-|------------]
[----------|---------|-----7-|-7-----|---------------|-11h14p9~~~-]
[----------|---------|-9-9---|-------|---------------|------------]
[--------7-|-7-11-11-|-------|-------|---------------|------------]
[--10-10---|---------|-------|-------|---------------|------------]
3 3 1 1 4 4 2 2 1 1 2 2 3 3 1 3 2 4 1
UP
Example 16
----------
This example repropose the very spread idea to play a chords progression
arpeggioing over the three first strings only. To perform the bars from 8th to
12ve well, it need to take care of the passage between one position and the
next one, in fact if we want to play like the light-velocity we'll end to
neglect the first note of each bar.
v n v v n v v n v v n v n v n v
[---------------|-----------------------|--------|-------|-------|--------|-
[---------------|-----------------------|--------|-------|-------|--------|-
[--(9)/10-9-7---|-(9)/10-9~~~~~~~~~~~~~-|-10-9-7-|-------|-------|----9-7-|-
[-------------9-|-----------------------|--------|-------|-7-9-6-|-10-----|-
[---------------|-----------------------|--------|-8p7h8-|-------|--------|-
[---------------|-----------------------|--------|-------|-------|--------|-
4 3 1 3 4 3 4 3 1 2 1 2 1 3 1 4 3 1
n n n n v v v n n v v v n n v v v n n
-|---------|------------7-|-10p7--------7-|-12p8---------8-|-12p9---------9-|-
-|---------|----------9---|------9----9---|------10---10---|------10---10---|-
-|-9~~~~~~~~~~---7h10-----|--------10-----|---------9------|---------9------|-
-|---------|---9----------|---------------|----------------|----------------|-
-|---------|--------------|---------------|----------------|----------------|-
-|---------|--------------|---------------|----------------|----------------|-
3 3 1 4 3 1 4 1 3 4 3 1 4 1 2 1 2 1 4 1 2 1 2 1
v v v n n v n v v n v n v n v v n v n v n v
-|--13p10----------10-|-------------------|---------------------|------------]
-|--------10----10----|-13-12-10----10----|---------------------|------------]
-|-----------10-------|----------13----13-|-10-13-9-13----13----|-13---13----]
-|--------------------|-------------------|------------12----10-|----9----12-]
-|--------------------|-------------------|---------------------|------------]
-|--------------------|-------------------|---------------------|------------]
4 1 1 1 1 1 4 3 1 4 1 4 1 4 1 4 3 4 1 4 1 4 3
The lick ends with a "classical classicism" of tree bars.
UP
Example 17
-------------
This exercise is based on the A minor harmonic scale and propose a series of
"crossed" passages.
v n v v n v v n v n v v n v n
[-------------|----------|-------|-----------|------------|-12~~~--|-
[-------------|-10-------|-------|-----------|-9/13p10----|--------|-
[--13-10-9----|----------|-7~~~--|-/10-9-7---|---------12-|--------|-
[----------10-|----9\6---|-------|---------9-|------------|--------|-
[-------------|--------7-|-------|-----------|------------|--------|-
[-------------|----------|-------|-----------|------------|--------|-
4 2 1 2 3 1 2 3 4 3 1 3 4 1 3 4
v v n v v n v v n v v n
-|---------10-|----------12-|----------13-|----------17~~-]
-|-12p9-------|-13p10-------|-15p12-------|-17p13---------]
-|------10----|-------12----|-------13----|-------17------]
-|------------|-------------|-------------|---------------]
-|------------|-------------|-------------|---------------]
-|------------|-------------|-------------|---------------]
4 1 2 3 4 1 3 4 4 1 2 3 4 1 3 4
UP
Example 18
----------
This example shows how sweep and slide tapping semplify the execution of a
"diminished" lick respect to a standard fingering aproach.
(v)
n n n t v v t sl. sl. v n n n v v v
[------5h8-t-11p8p5---|----------|-----------|---------|---------|-----]
[----7-----|--------7-|----------|-----------|---------|---------|-----]
[--8-------|----------|-8p5h8t11-/-14\11p8p5-|-------5-h-8p5-----|-----]
[----------|----------|----------|-----------|-7---7---|-----7---|-----]
[----------|----------|----------|-----------|---9-----|-------9-|-----]
[----------|----------|----------|-----------|---------|---------|-4~~-]
4 3 1 4 M 4 1 3 4 1 4 M 4 1 2 4 2 1 3 1 2 4 1
UP
Example 19
-------------
This example show a series of chromatic passages. Everyone of the last four
notes of the 6th bar are 1/8 long.
n v n n v n n v n n v n v n v n v v v
[--------------|-------------|----12-14-15-p-14----13----|-12----------|-
[--------------|-------12-13-|-15----------|----15----14-|----13-------|-
[-----------11-|-12-14-------|-------------|-------------|-------14----|-
[--10-12-14----|-------------|-------------|-------------|----------15-p-
[--------------|-------------|-------------|-------------|-------------|-
[--------------|-------------|-------------|-------------|-------------|-
1 2 4 1 2 4 1 2 4 1 3 4 3 4 2 3 1 2 3 4
v n v n
-|--------------------|-----------------]
-|--------------------|-----------------]
-|--------------------|-----------------]
-p-12-----14h15p14p12-|-------(14)/17~~-]
-|----13--------------|-----------------]
-|--------------------|-13p12-----------]
1 2 3 4 3 1 2 1 3
UP
Example 20
----------
This "little caprice" sounds too classic, but it's rich of ideas.
The first 6 bars are made up by two different lines played "together"; try to
play them apart and they will appear to you in all their simpleness.
n n v v n v v n v v n v v n v v n v v n
[--------------|-------------|-------------|-------------|-------------|-
[-----17-15----|-15-13----15-|-13----13-12-|----13-12----|-12-10----12-|-
[--------------|-------------|-------------|-------------|-------------|-
[-/16-------17-|-------14----|----16-------|-12-------14-|-------11----|-
[--------------|-------------|-------------|-------------|-------------|-
[--------------|-------------|-------------|-------------|-------------|-
3 4 2 4 2 1 2 3 1 4 2 1 2 3 1 4 2 1 2 3
The bars from the 7th to 10th propose a new melody in which you have to pay
attention to the time, in fact the 8th and 10th bars starts with the bend
release, bend started in the 7th and 9th bars.
v v n n v n n n n v n v v v
-|-------------|--------------|-------------|-17-20-19b20-r-19p17-------|-
-|-10----8~~---|-/17-20-19b20-r-19p17----19-|-------------|-------19----|-
-|-------------|--------------|-------20----|-------------|----------20-|-
-|----12-------|--------------|-------------|-------------|-------------|-
-|-------------|--------------|-------------|-------------|-------------|-
-|-------------|--------------|-------------|-------------|-------------|-
1 4 1 1 4 3 1 4 3 1 4 3 1 3 4
The bars 11, 12 and 13 propose a sweep dessendent sequence. Note that the
sweep, made up by four notes eachone, aren't fit exactly in a bar, but they
are lightly out of phase respect to the metric. In this way the last note of
every sweep is strongly underlined by the time, so it seems we're playing
again two lines "together": one dissendent (17,16,14,12) and a series of
sweep.
n n v v n v v n v v v n v v n v n
-|----19p15----|-----17p14----|----15p12----|-------------|-------------|-
-|----------17-|-----------16-|----------14-|-------------|-------15----|-
-|-17----------|-16-----------|-14----------|-12----------|-14-------14-|-
-|-------------|--------------|-------------|----14-16----|----16-------|-
-|-------------|--------------|-------------|----------17-|-------------|-
-|-------------|--------------|-------------|-------------|-------------|-
1 4 1 2 1 3 1 2 1 3 1 2 1 2 3 4 1 3 2 1
n v n v t v v v n
-|-14----17-14-|-22~~~-------|-------------|-10------]
-|----15-------|-------15~~~-|-------------|-10------]
-|-------------|-------------|-------------|-7-------]
-|-------------|-------------|-12~~~-------|-7-------]
-|-------------|-------------|-------------|-0-------]
-|-------------|-------------|-------10~~~-|---------]
1 2 4 1 M 2 1 1
The "little caprice" ends with three bars that "go up in alternated way" over
a D major arpeggio.
UP
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