THOMAS LEEB DADGAD FINGERSTYLE
[ Bar 1] Don’t forget we’re in DADGAD tuning – it will make all the difference! You’ll see the first example of ornamentation here, as Thomas quickly sounds the G# ( virtual 4th fret, due to 2nd fret capo, fourth string) before he plays the F# on beat three. It’s very brief, which makes it difficult to execute. [ Bar 2] And here is a hammer- on from nowhere onto the G# ( virtual 4th fret, fourth string). Remember, you’ll need a strong fretting hand to make this note sound as dynamically even as the picked notes.
[ Bar 15] There are some rhythmic shenanigans to watch out for here; in this case, the ‘ hammer- on from nowhere’ bass note on the ‘ and’ of beat one onto the G# ( virtual 4th fret, sixth string). [ Bar 16] And more rhythmic trickery to negotiate here, as you must pluck the bass note ( open sixth string) twice, both on and off beat one. As if that wasn’t enough, there is a triplet on the melody at the end of this bar – break these sections down and learn each one before putting them together.