This exercise is more difficult because of the use of a succession of vertical notes in the second movement. Its your choice whether to play this passage with alternate or sweep picking.

A series of descending arpeggios, which are easier to play using alternate picking, mainly to keep a constant sound. The use of the melodic arpeggio really enriches the phrasing, and it is always advisable to use it. At the end of the bar, pay attention to the change of position on the last two notes.

After having seen how to work on single note melodic line and riffs, lets try to to play a funky style rhythm. It is certainly not used alot in the harmonization of the minor harmonic scales, but we will look at an example of it. We work on three chords (Am, E7 and Dm), whose fingerings will be developed on the first three strings. It is understood that you are already familiar with funky rhythm.
Look at the chords and notice how the fingerings are developed They are built on the harmonization of the minor harmonic scale of A. For the rhythmics, all you need to do is follow the suitable picking to get a good interpretation.

We return to a riff, this time with typical neoclassical characteristics. Most evident is surely the tempo, which is 5/4. This is nothing particularly difficult. Many times the change of tempo (from the standard 4/4 to others) is necessary to get a more interesting sound. In the first bar (equal to the second), we work on two chords, the Am and E7. In the third bar the last note concludes the riff with the E7 chord. Also in this case it is best to stop the strings with the palm of the hand.

This exercise is surely more complicated than all those seen to this point. It therefore should be studied and analyzed very closely. The first two bars are performed using a technique based on the classical style of Paganini. We have a succession of notes that repeat themselves in the minor harmonic scale, in order to be work often in sequence, and is interrupted by intervals that are sometimes large (between G# and the E of the 2nd and 3rd movement of the first bar).
The difficulties come in the third bar. At this point an augmented arpeggio in C starts, made of two notes played with the left hand and a higher one played in tapping with the middle finger of the right hand, anticipated by four sixteenths in the first movement (notes C - E on the third string and E - G# on the second string). The augmented arpeggio is formed by uniting two notes of the left hand with the tapping of the right, on every interested string of the phrasing.
Harmonically, the augmented arpeggio of C (but also of E and G#) is actually contained in the minor harmonic scale, and is usually used for creating tension in the choice of the notes to play.
Finally, pay attention to the last note, always played in tapping.