Ex­Am­pLEs

Guitar Techniques - - LEARNING ZONE -

Ex­am­plE 1

The first six ex­am­ples here are de­voted to the parental triad, a. Here the e (5th of a) has been re­lo­cated from the fifth string to the third string in or­der to make it eas­ier to play in­tri­cate se­quences (dif­fi­cult when each note is on a dif­fer­ent string). This string-skip is typ­i­cal of play­ers like Paul Gil­bert.

HTeErCe’sHaNvIaQri­aUtiEoSn us2in­5g8the same shape, just as an illustration of how to ex­per­i­ment with your own ideas on each given theSmhea.

now we move up to us­ing the parental a tri­adVi­nes­rhti­ac­pael#U2

ExGaUmITpAlER2 Ex­am­plE 3

(al­though we drift into shape#1 for the last note). You will need to em­ploy a barré roll us­ing the sec­ond fin­ger in or­der to fret the e and a notes on the fifth and third strings. This in­volves lay­ing the fin­ger across notes that are on dif­fer­ent strings but within the same fret. Pres­sure on the sur­face area of the fin­ger is then re­dis­tributed from note to note us­ing an arm move­ment in or­der

tEhe sNepa-rate notes rather than have them bleed into each ot­ly­hedri: an­toTur­ci­haodfsm(up­tain­rgt f1r)om both hands will help with this note sep­a­ra­tion.

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