ExamplE1 Wide in­ter­vals and chro­matic ideas over shift­ing ma­jor tonal­i­ties

Guitar Techniques - - LESSON | JAZZ -

We be­gin with some of al­lan’s sig­na­ture wide stretches. You can re­ally see why play­ers such as ed­die van Halen thought he was us­ing tap­ping be­fore thGeyUcIToAuRld sTeEeChHimNIiQnUaEc­tSionM.AitGwAilZl i2­fy5o0u wear the gui­tar medTi­huemJto high on your chest and keep your thumb be­hind the neck for theTAsthLreAtcNJho, ap­prox­i­mately in line with the sec­ond fin­ger. in con­trast to th­ese oApLeAniNng wide in­ter­vals, the pre­ced­ing line is much more com­pact and fea­tures a com­bi­na­tion of scale-wise mo­tion (ab ly­dian for ab/Gb, B ly­dian for C#/B: r-2Whe3a-#tc4-r5o-6ft-7J),awz­izthc­sol­muem­c­nhro­matic dec­o­ra­tion for good mea­sure. look out for

legato phras­ing in bars 4 and 5: break it into 8-note atSaTsYloLwEtempo to learn it quickly.

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