Ex­Am­pleS 7AnD68-note stRinG6PAiR CeLLs

Guitar Techniques - - LESSON: CREATIVE ROCK -

LLLL LHere, we’re us­ing the same string-pair cell(s) as in the pre­vi­ous exEBam­ple in an as­cend­ing seque2n0ce1a7nd1,6on1c7ea1g6a1i5n, each oc­tave is treated in thBe same w2a0y. m17or1e6d1if­fi5cu1lt7­to14­pla1y3t1h4an13ex1a2m­ple 6 bABGe­cause of the fret­ting-hand t2a0p ea1c7h­s1t4rin1g3,w14h1ic3h thAEe first fin­ger com­ing down from suf­fi­cient height to p17rod14uce13en1o4u1g3h1f2or1c7e for a good strong note each time. To do this, you must re­lease the fin­gers of thEe f2r1et­ting hand from the fret­board each time a tap is played with this digit.

Fi­nally, we fin­ish with an­other vari­a­tion on the same string-pair cell. This time, we’re us­ing sep­tu­plets to cre­ate an ef­fect sim­i­lar to michael lee Firkins. Here, the string-pair cell is treated dif­fer­ently in each oc­tave - although each bar is al­mos1t5th1e2 sa1m11e2, o1n1­ly1a0n oc­tave apart. To get the sep­tu­ple rhythm,

fo­cus on tar­get­ing t1h5e tap on the start of each qua1r5te1r-2no1t1e,1a2n1d1th1e0n1t5ry12to s1p1re1a2dt1h1e1n0ot8es in as evenly as pos­si­ble and the in­ter­nal r1h5yt1h2m1s1ho1u2ld1j1us1t0­tak8e car5e of it­self.


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