![Accelerate Your Skills: Elevate Your Rock Playing with 6 Stunning Speed Burst Techniques (That Are Gentle on Your Fingers)]](https://backingtracksfullcollection.com/wp-content/uploads/2026/01/Accelerate-Your-Skills-Elevate-Your-Rock-Playing-with-6-Stunning-758x426.jpg "Accelerate Your Skills: Elevate Your Rock Playing with 6 Stunning Speed Burst Techniques (That Are Gentle on Your Fingers)] 1")
For many guitar fans, the term ‘shred’ evokes speed, precision and virtuosity. Desired and admired in equal measure, building your shred guitar skills lies in learning short patterns and sequences that can be repeated and varied. With enough learnt and playable at high speeds, you can reach Shred Heaven.
A tried-and-trusted way to develop your shred chops is to use speed bursts. This typically involves a short pattern-based figure (a ‘cell’ sequence, typically 4, 6 or 8 notes long) that is (once mastered) played quickly for a brief duration before resting, giving your hands time to recover.
This process is repeated while gradually pushing up the metronome tempo and elongating the repetitions without stopping. Speed burst practice is a fantastic way to building strong left and right hand technique, as well as increase your speed and stamina.
Some of the biggest names in shred mastery make use of stunning speed patterns in their solos including Zakk Wylde, Yngwie Malmsteen, Nuno Bettencourt, Eddie Van Halen, Steve Vai, John Petrucci and many more. Paul Gilbert is a great advocate of patterns:. through his teaching videos, Paul has demonstrated stunning lead lines based around the minor pentatonic scale and three-note-per-string sequences.
In this tutorial, you will learn some of the best and most relied on patterns of the fast and famous. Ranging from pentatonics to modes, it’s time for you to turbo boost your playing to whole new levels. Let’s go!
Ex 1. A minor pentatonic pattern 1 with burst playing
Here’s an A minor pentatonic (shape 1) sequence using the notes A-C-D-E-G. Inspired by Slash and John Petrucci, this starts with an 16th note pattern that involves 8 notes and repeats twice using alternate picking and pull-offs.
The second bar is where you catch your breath and lessen any tension in your hands as you only play a short E note on each beat. This burst approach (play fast then play slow) is a popular way to sharpen your technique, allowing you to increase speed without straining for too long.
The example concludes by continuing this sequence across the remaining string groups.
Ex 2. A minor pentatonic pattern 2 with burst playing
Here’s a variation of Example 1, still based in A minor pentatonic. This ascending and descending fragment uses both alternate picking and fretting hand legato.
The eight-note pattern repeats for one bar, and is once again followed with a ‘chill out’ bar, keeping time by playing a short D note on each beat. This example concludes by continuing the sequence across shape 1 and across the top three strings of shapes 2 and 3.
Ex 3. A minor pentatonic pattern 3 with burst playing
This is your final pentatonic example, evoking the shred style of Randy Rhoads and Zakk Wylde. Here you’re using shape 1 of the A minor pentatonic scale plus its b5 blue note, Eb.
Remember, A minor pentatonic + an Eb note (this is the diminished 5th/blue note interval for A minor) results in the six note A blues scale (A-C-D-Eb-E-G).
Once again, a fast 16th-note based repetitive sequence is followed by a one note per beat chill out bar for energy recuperation. To conclude, the sequence travels across the remaining string groups of A minor pentatonic, shape 1.
Ex 4. A Aeolian sequence 1 with burst playing
Here is your first three-notes-per-string sequence, as used by the likes of Paul Gilbert, John Petrucci and Steve Vai. It’s based around the A Aeolian mode (A-B-C-D-E-F-G). The shred element is an eight note pattern that ascends and descends on the low sixth and fifth strings, using strict alternate picking.
Once again, you will use the repeating speed burst practice method, with a rest bar played. You then continue the sequence across all six strings, including position shifts as you climb the neck. It concludes by continuing the sequence on the top two strings.
Take care with this one, as the additional position shifts add to the complexity of the run. It sounds absolutely fantastic once you’ve got it to ‘beast shred’ levels (ie 4 notes per click from the metronome at 140 beats per minute or more).
Ex 5. A Dorian sequence with burst playing
Inspired by Eddie Van Halen and Paul Gilbert, this exercise is based around A Dorian (A-B-C-D-E-F#-G) and uses a 16th note triplet rhythm (othrwise known as sextuplets) to ascend on the top two strings.
The three notes on the second string should be played with legato and the first string’s three notes are performed with alternate picking. Experiment with alternate picking for all notes, or if you find this too demanding, pick every three notes (ie pick, hammer-on, hammer-on).
This sequence is pretty demanding at the 100 bpm tempo – 6 notes per click at 100bpm is often considered shred speed territory – so practice slowly then gradually build up your speed. Pay attention to the timing of your fretting hand, as this is vital when synchronizing with your picking hand.
Ex 6. Mini Piece – putting it all together
To close the examples, this is a mini piece that combines the approaches you’ve worked on in the previous examples.
Bars 1-4 feature a repeating pentatonic sequence inspired by Zakk Wylde. You develop the phrase in the first bar, which repeats before continuing the sequence across the remaining string groups.
The pentatonic sequence has been embellished with additional notes, including the b5, resulting in the A Blues scale, plus the minor 6 interval which gives the lick an Aeolian vibe.
Bars 5 and 6 include a pattern that ascends and descends with the A minor pentatonic and include some double picked notes plus fretting hand legato. This concludes with a sequence that shifts through three positions of the A minor pentatonic on the top three strings.
Bars 9-10 include an ascending sequence based around A Aeolian. This includes position shifts, so take care with your hand synchronization. The solo concludes with an ascending sextuplet pattern on the top two strings using notes from A Dorian. This sequence uses both legato and alternate picking.
Shred speed burst classics
Paul Gilbert – Scarified
This is a shred instrumental classic originally recorded by Paul Gilbert’s first big rock band, Racer X. It more than lives up to its name and is full of picking and legato licks, many of which are built on foundations of small 6 or 8 note cells/patterns. If you want proof of the benefits of this article, this is one of the best pieces to be inspired by. Prepare to have your face melted!
Ozzy Osbourne – Miracle Man
This was a new era for Ozzy Osbourne with Zakk Wylde. Hard rocking and powerful, Miracle Man is a full-on rock assault with a stunning solo!
Following a climbing arpeggio sequence, Zakk rips through an outrageous fast picking pentatonic sequence that still perplexes guitarists to this day.
Check out his blues scale lead licks at 2:21 – you will notice example 3 pays tribute to this. Much of Zakk’s playing makes use of fast pentatonic sequences, but this solo shows how far he (and in turn, you) can push it!
Dream Theater – As I Am
As I Am features a blistering solo that demonstrates why John Petrucci is hailed as one of the greatest rock guitarists to have emerged during the early ’90s.
This solo is chock full of sequences including both pentatonic and three note per string, performed with precise alternate picking. The solo includes single string figures that develop into extended runs across multiple string groups. The pentatonic sequences are also breathtaking.
You may need a lie down after watching this, all born from Petrucci’s admiration of Steve Morse’s alternate picking style and his teenage years’ intense shred pattern practicing.
