![]() ![]() ![]() This exercise is a straightforward ascending and descending scale based on Bbm pentatonic (Bb-Db-Eb-F-Ab) with the b5th ‘blue’ note (Fb) at the top of the phrase. This ‘inside picking’ approach can be a more economical way of picking between strings, and it’s employed by many great players in all styles of guitar music. In bar 1, use a pick downstroke on the third string, and your picking-hand second finger (m) on the first string, then another pick downstroke on the second string followed by a pull-off.īar 2 requires some particularly fast economy picking, as the first string is played with a downstroke and the second string uses an upstroke. Take care with timing.Īnother E minor pentatonic lick in shape 1, this exercise features two picking approaches. In bar 2, the second finger (m) of the picking hand plucks the string beneath the one that’s just been played with a pick downstroke. Based around an open E minor pentatonic scale, note how in bar 1 this classic three-string lick is played with a pick downstroke on the third string, but second (m) and third (a) fingers of the picking hand on second and first strings respectively. This exercise incorporates hybrid picking in a melodic, lead line context. ![]() Approach the exercise slowly, paying attention to picking accuracy and, again, hand-to-hand coordination. The repeating triplet phrases in bars 1 and 3 are tricky because there are three notes being played across two strings, so each new group of three notes starts with a different picking direction. This a complex style if you’re unfamiliar with it, so take it slowly in small sections to try to nail the technique, as it’s a useful one to know.Įxample 3. The melody notes are played with either second (m) or third (a) fingers of the picking hand, either between the pedal sixth-string pedal tone notes. Use palm-muted pick downstrokes on the sixth string, making sure you create a strong pedal tone on each beat of the bar. ![]() This example is based around an open E7 chord (E-G#-B-D). Visualise the patterns across the different fretboard positions and take it slowly to begin with, ensuring correct co-ordination between your picking and fretting hands. This ascending alternate picking line uses shapes 3, 4, 5 and 1 of the E minor pentatonic scale (E-G-A-B-D). You don’t necessarily need to be able to play super-fast, for example (unless you want to be able to pull off those super-flash lines), but a good command of different techniques combined with good fretboard knowledge and musical understanding is essential to help you to get there. Yet in order to achieve this, you need to develop a high enough level of technical and above all, musical skill to be able to convey it. King, Albert King, and Freddie King, with blues-rock players such as SRV, Clapton and Hendrix and have come up with their own mix of soulful and technically astounding blues-rock guitar that has itself influenced generations.Īs a blues guitarist, there is an intensity that has to be put over to the listener that is utterly authentic, and firmly based on feel. I am always creating and producing original new tracks so follow me on YouTube, Facebook or Twitter to be notified of my new original tracks once they are uploaded.Later players like Stevie Ray Vaughan, Gary Moore and Joe Bonamassa (to name but a few) have added their own sound and vocabulary to the genre, combining the influences of traditional American electric blues guitarists like B.B. Here is my collection of original guitar backing tracks, many styles from blues to rock and jazz, all in the key of A. ![]()
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