Ex­am­ple NY­LON STRING PIECE

Guitar Techniques - - Lesson: Session -

[Gen­eral] Through­out the in­tro and verse sec­tions, make sure you let the notes ring dur­ing each phrase by keep­ing the chord shapes fret­ted down un­til the shape it­self has to change. This will en­sure a fluid, ring­ing sound, and not a stac­cato, ‘cut off’ one - it’s a con­cept that’s nat­u­ral for ex­pe­ri­enced fin­ger­style play­ers. [Bars 1- 4] For the first part of the in­tro, ap­proach the pick­ing as in­di­cated at the be­gin­ning of the tab stave; ‘p’ (thumb) plays the bot­tom three strings; ‘i’ (first fin­ger) plays the third string, ‘m’ (sec­ond fin­ger) plays the sec­ond string, and ‘a’ (third fin­ger) plays the first string. In bar 2, make sure you change to the C/E chord on the G note on the ‘2&’, and let the bass notes ring through while let­ting the tre­ble string melody be heard clearly. [Bars 5-7] The first two of these bars is a re­peat of bars 1 and 2, but bar 7 dif­fers from bar 3 as it uses ‘slid­ing 6ths’ to as­cend through the melody. Let the open fourth string ring here, and change to the Gsus4 chord on the ‘2&’. [Bars 8-11:] These four bars are a re­peat­ing Amadd9 arpeg­giated chord. This acts as a sec­ondary in­tro and sets up the mood of the verse. Again, keep these notes ring­ing and nice and evenly. The thing to watch out for here is mak­ing sure you don’t let the open sixth string ring into the open fifth, as this will make things sound muddy and un­tune­ful. Try us­ing the edge of your pick­ing thumb to do the mut­ing. [Bars 12-19] This is the verse sec­tion of the tune. Again note the pick­ing as in­di­cated be­side the tab stave. It has changed to ‘p’ on the sixth and fifth strings, but ‘i’, ‘m’ and ‘a’ have moved to the fourth, third and sec­ond strings re­spec­tively. The only change to this new ap­proach is in bars 15, 18 and 19, in­di­cated un­der the ap­pro­pri­ate notes in the tab. Re­mem­ber, these are all only sug­ges­tions; feel free to ex­per­i­ment if other meth­ods suit you bet­ter.

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