EXAMPLE13 FUll Piece 1
applying some of these ideas in a rock context, this solo contains a concentration of string skipping you perhaps wouldn’t normally find in
GyoUuITrAavRerTaEgCeHsoNlIoQ.UBuEtShoMpAeGfuAlZlyINitEstil2l s7h3ows the ideas being used in a reasonably realistic way. Using plenty of gain, but conRtriocllhinagrdunBwarnrtetdt's string noise with selective palm muting, the first half is more of a full-on assault, letting up for a more melodic approach, using the neck pickup. If you’ve looked through and tried the previous examples, this should all
aFnEdAshToUuRldEinspire you to want to master these ideas.