Most bassist don't even get to show there talent during a show. All they do is stand out of the spotlight and thwack away at the E and A strings. Well I'm tired of that and hopefully you are too! Music is all about expressing yourself, and that's why you need to show your chops.
I'm not going to tell you that all bass solo's have to be part of a scale, but I think it's important to include some scaling in your solo. Let's Start out of a C major scale.
G|-----------2-4-5-
D|-----2-3-5-------
A|-3-5-------------
E|-----------------
Now let's add some notes in between
G|------------2424-5-
D|-----2323-5--------
A|-3-5---------------
E|-------------------
Here's were you can add different parts of a bass solo. Either chords, speed, or slap/octaves. (I'm leaving out tapping, because I haven't mastered that yet)
Chords
G|------------2424-5-5-4-----5-4---4-
D|-----2323-5--------3-2-4---3-2-4-2-
A|-3-5-------------------2-------2---
E|-----------------------------------
Speed
G|------------2424-5-55553333--------
D|-----2323-5----------------55553-2-
A|-3-5-------------------------------
E|-----------------------------------
Slap/Octave
(s=Slap, p=Pop)
G|------------2424-5----5p------------5p----4p-
D|-----2323-5------------------5p--------------
A|-3-5---------------3s------------3s----2s----
E|------------------------3s-------------------
There's a nice easy solo for you. I find most bass solo's come from using doodling around the fretboard or improv.
Effects
Some people find that using distortion or other effects may pump up a solo. I agree and disagree. Using an effect is great, but don't overuse it. If all your solo's are distortioned, what's the point, anyone can hit a couple notes on distortion and sound like Cliff Burton. I hope this helped you in your pursuit of face-melting, bass-pounding, guitar player-killing solos.
from :Ultimate Guitar
Minggu, 31 Mei 2009
Bass Solo's
The Minor Pentatonic
The way I remember the Pentatonic Scale is by remembering the 5 Shapes and giving them rememberable names. (The following Scales are in E Minor)
Shape 1
G|-0-2-|
D|-0-2-|
A|-0-2-|
E|-0-3-|
Give it a unique Name.
Shape 2
G|-2-4-|
D|-2-5-|
A|-2-5-|
E|-3-5-|
Shape 3 (Quite a similar pattern to Shape 1)
G|-4-7-|
D|-5-7-|
A|-5-7-|
E|-5-7-|
Shape 4
G|-7-9--|
D|-7-9--|
A|-7-10-|
E|-7-10-|
Shape 5
G|-9--12-|
D|-9--12-|
A|-10-12-|
E|-10-12-|
Improvising
The Minor Pentatonic May be used for Improvising and possibly Soloing. Making it a good thing to use. You may have noticed I stopped at the Twelth Fret. that's because there are only 12 Notes...
E, F, F#, G, G#, A, A#, B, C, C# D, D#.
To go higher, just repeat those shapes. Also remember that these shapes are in the Key of Emin. To go to G for example, Shape 1 starts on the 3rd Fret, and the rest of the shapes follow after (and repeat behind)
Here are all the Frets you can use using the Shapes.
G|-0-2-4-7--9-12-|
D|-0-2-5-7--9-12-|
A|-0-2-5-7-10-12-|
E|-0-3-5-7-10-12-|
So that means the notes you can use are...
E, G, A, B, D.
Remember to practice those Scales, try improvising with the Pentatonic and enjoy!
Pentatonic Sequences For Soloing
Welcome everyone to my lesson on pentatonic sequences. To start off, i'll explain what a scale sequence is. Basically, all it is is taking the notes of a scale and arranging them into patterns that can be used to go up or down a scale. You've actually probably heard these before but just didn't know what they were.
First, lets start by showing the A minor pentatonic scale in the "root position" on the 5th fret.
e----------------5 8----------------
B-------------5 8---8 5-------------
G----------5 7---------7 5----------
D-------5 7---------------7 5-------
A----5 7---------------------7 5----
E-5 8---------------------------8 5-
Now, you should be pretty comfortable with this already. If you are not, take some time to practice just going up and down this scale to get used to it.
Now assuming you are already using the pentatonic, lets break it up into sequences to make things more fun. This will also help build speed in the pentatonic scale.
The first one we'll go over is GROUPS OF 3. The concept is simply play up the scale 3 notes, then go back to the 2nd note and go up 3 more notes. Then from there, go back to the second note in that group and go up 3 more etc... So think of it as 1 2 3, 2 2 3, 3 2 3, etc...
e------------------------------------------------5---5-8--5---
B-------------------------------------5---5-8-5-8--8-----8--8-5....etc..
G--------------------------5---5-7-5-7--7---------------------
D---------------5---5-7-5-7--7--------------------------------
A----5---5-7-5-7--7-------------------------------------------
E-5-8--8------------------------------------------------------
When starting this, make sure to actually count out "one, two, three, one two, three" and make sure to accent the "one" with your picking. Now where it gets a little tricky is connecting the accending with the deccending(which is what is shown at the top of the example. Continue it down the scale). What I like to do is count the top "three" as the "one" for going back down. So count " one, two, three, two, one, three, two, one," etc...
e-8-5---5---------------------------------------------------
B-----8---8-5-8-5--5----------------------------------------
G-----------------7---7-5-7-5---5---------------------------
D-----------------------------7---7-5-7-5---5---------------
A-----------------------------------------7---7-5-7-5--5----
E-----------------------------------------------------8--8-5
You should practice this starting from the top, go all the way down, and then back up as well as starting from the bottom, going up and then back down.
Next, we'll talk about GROUPS OF 4. Now, there are a couple of ways to do these. Once you go past groups of 3 it becomes easier to change it up a bit. For the sake of usefulness(and so I don't have to write out a few different groups of 4), I will show you the one I use the most. it's quite simple and it's very easy to get up to speed. This one will start to sound more eric johnson like and it should because I got it from watching him play. In this one, instead of going back to the 2nd note, we'll go to the 3rd note. This makes this easier to play than going back to the 2nd note which would involve some rolling.
e--------------------------------5-8----
B-------------------------5-8-5-8----8-5 ...etc..
G------------------5-7-5-7--------------
D-----------5-7-5-7---------------------
A----5-7 5-7----------------------------
E-5-8-----------------------------------
See? Pretty easy. This one is probably the easiest one out of all of them but don't be tempted to rush this one. Take the time to make sure every note is nice and clean before going faster. And again, when you get to the top, count the "four" as the "one" when deccending back down. So "one, two, three, four, three, two one, four, three, two, one," etc...
And starting on the top:
e8-5--------------------------------
B---8-5-8-5-------------------------
G----------7-5-7-5------------------
D-----------------7-5-7-5-----------
A------------------------7-5-7-5----
E-------------------------------8-5-
Again, practice starting from the top, go down and back up as well as start from the bottom, go up then back down.
Now the next one I'm going to show you sounds even more Eric Johnson like and Joe Bonamassa like. Its basically a GROUPS OF 6 pattern, but the way i practice it doesn't start out like a group of 6. And the reason for this is to just get your fingers used to skipping back up or down to the previous string in any area on the neck. so think of it like; 1,2,3,4,1,2,3,4,5,6 etc... instead of 1,2,3,4,5,6,1,2,3,4,5,6.
e-----------------------------------------5-8---5-8---8-5-----------------
B--------------------------------5-8---5-8---5-8---8-5---8-5---8-5--------
G-----------------------5-7---5-7---5-7--------------------7-5---7-5....etc
D-------------5-7---5-7----5-7---------------------------------------------
A----5-7---5-7---5-7-------------------------------------------------------
E 5-8---5-8----------------------------------------------------------------
So as you can see, it's basically a 6 note pattern but it does stray away from it at times to make it easier to play.
e-8-5---8-5-------------------------------------------
B----8-5---8-5---8-5----------------------------------
G-------------7-5---7-5---7-5-------------------------
D----------------------7-5---7-5---7-5----------------
A-------------------------------7-5---7-5---7-5-------
E----------------------------------------8-5----8-5---
And by now i'm sure you know to practice both starting from the top comming down then back up, and starting on the bottom going up then back down.
Another thing to consider is taking these concepts and moving them into the other positions of the pentatonic scale. This way, you can play through all the shapes on the fretboard equally.
Well to wrap this up, I just want to say that I hope this helped you guys out there. I know I wish I knew this when I started out. Another thing you can do is make your own sequences. Obviously I skipped from Groups of 4 to Groups of 6. You could do 5 if you like or even 7. Try going back to different notes too. For example, go up 5, go back to the third note and go up five instead of going to the 2nd.
Anyways, I might do a 2nd part to this to go over other ideas and maybe some examples of licks using sequences in them.
Soloing The Linear Approach
Over the years I've heard a few musicians refer to the linear approach to melody but I'd never given it much thought until I heard a guy describing the method he used to learn guitar. This involved having only 1 string. After he had mastered the single string he graduated to 2, and then 3 and so on.
Although I had no intention of taking 5 strings off my guitar, it did start me wondering how you would go about playing melodies on a single string. I soon discovered that this is a very useful way to approach the scale. It gives you a great sense of the structure, which helps you to appreciate it as it applies to the entire fret board. It forces you to play in a more melodic way and makes shifting position a vital part of the melodic process. This constant shifting of position forces you to leave the security of the fret board; you have to make a 'leap of faith' so to speak. Another benefit of this is that you aren't allowed to hang around on a note longer than is absolutely necessary. This makes your phrasing tidy with none of that mushiness that can happen when you play phrases using a block scale. If you have to leap over 11 frets to make a major 7th there certainly isn't going to be any blurring of the 2 notes. And when you do switch back to a more efficient way of playing, i.e. grabbing notes nearby, you'll find this clearly defined way of playing will remain.
So let's get started. At this point you could of course just go and experiment with scales on 1 string. I wouldn't advise against this; I'm a great believer in the idea that the best exercises are the ones you create yourself. But if you want to stick with this article then here are some of the methods I used and some of the discoveries I made while exploring the single string technique.
One very important thing is to break up the scale into manageable chunks. Something I learned as a direct result of this exercise was that the scale has two halves which are symmetrical. This symmetry might not be obvious at first glance.
w = whole step h = half step
C D E F G A B C
w w h w w w h
This pattern of steps appears unsymmetrical. However, if we split the scale in two with the first piece being from C to F and the second from G to C we find perfect symmetry.
C D E F
w w h
G A B C
Incidentally, if we extended this pattern beyond the F in the top line and the C in the bottom, would the symmetry continue? No. And guess where it falls down? With the B in the top line and the F in the bottom, which when played together form the Diabolus in Musica or Devil's Interval (flattened fifth). All the other pairs form perfect fifths.
C D E F G A (B) C
G A B C D E (F) G
Anyway, back to the point. The first two useful chunks are the four-note halves of C-F and G-C, and it's the symmetry between these two parts which will prove useful when visualizing the scale.
The next set of chunks are made up of three notes and are formed by combining the notes that are in easy reach of the seven scale degrees. These chunks come in three distinct shapes; whole step whole step (w w), whole step half step (w h), and half step whole step (h w). They are as follows:
C d e D e f E f g F g a
(w w) (w h) (h w) (w w)
G a b A b c B c d C d e
Notice the further symmetry of our initial four note halves and the relationships between the groups of three-note chunks.
I like to refer to these three-note chunks using the modal names:
C d e (Ionian)
D e f (Dorian)
E f g (Phrygian)
F g a (Lydian)
G a b (Mixolydian)
A b c (Aeolian)
B c d (Locrian)
Now using these modal names we can look at the above symmetrical table and see that the Ionian, Lydian and Mixolydian share a major 2nd major 3rd tonality. The Dorian and Aeolian share a major 2nd minor 3rd tonality. And the Phrygian and Locrian share a minor 2nd minor 3rd tonality.
At this point you might be thinking "pretty patterns. So what?". Well, being able to visualize the scale in this way can be really useful when it comes to playing the scale in a practical manner. Even though you're sticking to a single string, using these manageable chunks, you're going to be very familiar with the scale from the perspective of all seven degrees. This means you'll know the scale from any note anywhere on the whole guitar!
Okay, as we mentioned practicality, let's start practicing!
As we've been referring to the C major scale, let's stick with that. The string we're going to use is the B string so the root C will be at the first fret and the octave at the 13th.
B|1---3---5---6---8---10---12---13---|
(C D E F) (G A B C)
You can see that if we place our first finger on the C at the first fret, the only notes within easy reach are D and E. This means we're going to be doing a lot of position shifts. Any of the four fingers could be the launching finger and any could be the landing finger.
Exercise 1. Scale Degrees.
Play each note of the scale ascending and descending with the first finger alone. This means you're going to be executing a position shift of one scale degree every time you play a note, and you'll be using the same finger to both launch and land. Repeat this with the second, third and fourth fingers. Launching and landing with the third and fourth fingers will be tricky so take it slow and careful. Concentrate on neatness and accuracy. Forget timing and tempo; they just cause you to play notes before you're ready. Good timing and high tempo are natural bi-products of repetitively accurate finger placement.
Exercise 2. 2nds.
Play through the scale in 2nds, using the first and third fingers for major 2nds (w), and the first and second fingers for minor 2nds (h).
|1-3---3--5---5--6---6--8--|
C d D e E f F g
w w h w
G a A b B c C d
|8-10--10-12--12-13--13-15--|
I have written it out in this way to demonstrate the symmetry element. That's why a d has been added at the 15th fret. The caps denote the start of a position shift and should therefore be played with the first finger. Now come up with as many different ways as you can of fingering these 2nds both ascending and descending.
Exercise 3. 3rds.
Play through the scale in 3rds using the same position shifting as described for 2nds. Note the symmetry of the two halves (C-F) (G-C). Again, try as many different ways of playing the 3rds ascending and descending as you can.
Something else we can do with 3rds is add the middle note (2nd) to form our three-note chunks and play through those.
|1-3--5---3--5--6---5--6--8---6--8--10--|
C d e D e f E f g F g a
(w w) (w h) (h w) (w w)
G a b A b c B c d C d e
|8-10-12--10-12-13--12-13-15--13-15-17--|
In my Guitar Fitness lesson I describe some permutations for these three-note chunks that I use all the time when playing through scales in this way. Although in that lesson I suggest fingering the Tone Tone (w w) chunk with fingers 1,2 and 4. I've since switched to 1, 3 and 4, which is much more natural.
Exercise 4. 4ths.
Unlike the 2nds and 3rds, where we shifted position in order to play the next interval, with 4ths, 5ths, 6ths and 7ths, we'll need to shift position to play the interval itself. This is where the three-note chunks can prove particularly useful. So from here on I will be referring to them using their modal names.
If we take a look at the first 4th (C, F), we might at first try to play this as a stretch. But unless you're playing the two notes very rapidly back and forth, it's better to treat it as a shift. A good way to do this is to think of the C as being the lowest note of the Ionian chunk, and the F as being the highest note of the Dorian. So we play the C in the Ionian position with our first finger, then shift position to the Dorian and play the F with our fourth finger. Remember you've already made this shift lots of times in the previous exercises. You're just shifting your first finger from the C to the D and the fourth finger will naturally fall over the F at the 6th fret. Try playing around with this position shift by playing the C with the first finger and then shifting to Dorian and playing any of the three notes with the correct fingering, i.e. first (D), third (e), and fourth (f).
Next thing to do is play the (D, G) 4th using exactly the same approach. D being the lowest of Dorian and G being the highest of Phrygian. Now play all the fourths in this way.
(C, F) (D, G) (E, A) (F, B)
(G, C) (A, D) (B, E) (C, F)
Did you notice the (F, B) is the odd one out, being as how it's an augmented 4th and all the others are perfect? The devil's interval again. It's back and this time it's inverted!
Exercise 5. 5ths, 6ths And 7ths.
We can approach 5ths, 6ths and 7ths in exactly the same way in which we tackled 4ths; by treating them as a position shift using the three-note chunks as a guide. The 5th (C, G) is the lowest note of Ionian followed by the highest of Phrygian. The 6th (C, A) is the lowest of Ionian and the highest of Lydian and so on. I'm sure you can follow the logic behind this system. It's good to get into the habit of working in this systematic way because it ensures that no element is given any less attention than any other. And if you get tired or just have to go and do something else, at the start of your next session you can pick up where you left off.
Other Key Signatures
If you follow the instructions above then the result should be a thorough appreciation of the C major scale (and it's modes) as it appears on the B string. But why just the B string? You'll find all the same patterns everywhere else!
So we need to turn our attention to the other eleven keys. A good way to do this is to use the circle of fifths to systematically move through the 12 key signatures. We've already done C so the next key is G. I suggest the G string... obviously! Then D, A, E and B using the obvious strings.
For F#/Gb I use the 1st string starting at the 2nd fret.
Db (2nd string 2nd fret)
Ab (3rd string 1st fret)
Eb (4th string 1st fret)
Bb (5th string 1st fret)
F (6th string 1st fret)
C (2nd string 1st fret) back where we began!
When you've mastered all of this you can reward yourself with the addition of a second string! Have fun!
from :Ultimate Guitar
Major And Minor Pentatonics
One thing that confuses a lot of guitarists is the use of the minor and major pentatonic scales.
The the minor scales that are outlined below, in the key of "A", are simply patterns that can be moved up and down the neck. Putting these patterns in the key of "A" means that the notes that have an "R" after them, or the root notes, are on an "A" note.
Minor Patterns
Pattern 1
E||----------------------|----------------------|------------3----5R---|
B||----------------------|----------------------|--3----5--------------|
G||----------------------|------------2R---5----|----------------------|
D||----------------------|--2----5--------------|----------------------|
A||------------3----5----|----------------------|----------------------|
E||--3----5R-------------|----------------------|----------------------|
Pattern 2
----------------------|----------------------|------------5R---8----|
----------------------|----------------------|--5----8--------------|
----------------------|------------5----7----|----------------------|
----------------------|--5----7R-------------|----------------------|
------------5----7----|----------------------|----------------------|
--5R---8--------------|----------------------|----------------------|
Pattern 3
------------------------|-----------------------|-------------8----10----|
------------------------|-----------------------|--8----10R--------------|
------------------------|-------------7----9----|------------------------|
------------------------|--7R---10--------------|------------------------|
-------------7----10----|-----------------------|------------------------|
--8----10---------------|-----------------------|------------------------|
Pattern 4
--------------------------|-------------------------|--------------10----12----|
--------------------------|-------------------------|--10R----13-----------
--------------------------|--------------9----12----|--------------------------|
--------------------------|--10----12---------------|--------------------------|
--------------10----12R---|-------------------------|--------------------------|
--10----12----------------|-------------------------|--------------------------|
Pattern 5
--------------------------|--------------------------|--------------12----15----|
--------------------------|--------------------------|--13----15----------------|
--------------------------|--------------12----14R---|--------------------------|
--------------------------|--12----14----------------|--------------------------|
--------------12R----15---|--------------------------|-----------------------
--12----15----------------|--------------------------|--------------------------|
Pattern 6
--------------------------|--------------------------|--------------15----17R---||
--------------------------|--------------------------|--15----17----------------||
--------------------------|--------------14R---17----|-----------------------
--------------------------|--14----17----------------|--------------------------||
--------------15----17----|--------------------------|--------------------------||
--15----17R---------------|--------------------------|--------------------------||
Here you can see that pattern 6 has the same shape as pattern 1 and it's root notes in the same place, but is exactly 12 frets up the fretboard, meaning all the notes in pattern 6 are one octave higher then pattern 1.
The major pentatonic scales use the same patterns but with the root notes in a different place to produce a different tonic "progression", which is basically the music theory way of saying it makes it sound major, instead of minor. Here are the same 6 patterns on the neck but with the roots in different areas.
Major Patterns
Pattern 1
E||----------------------|----------------------|------------3----5----|
B||----------------------|----------------------|--3----5--------------|
G||----------------------|------------2----5R---|----------------------|
D||----------------------|--2----5--------------|----------------------|
A||------------3R---5----|----------------------|----------------------|
E||--3----5--------------|----------------------|----------------------|
Pattern 2
----------------------|----------------------|------------5----8R---|
----------------------|----------------------|--5----8--------------|
----------------------|------------5R---7----|----------------------|
----------------------|--5----7--------------|----------------------|
------------5----7----|----------------------|----------------------|
--5----8R-------------|----------------------|----------------------|
Pattern 3
------------------------|-----------------------|-------------8R---10----|
------------------------|-----------------------|--8----10---------------|
------------------------|-------------7----9----|------------------------|
------------------------|--7----10R-------------|------------------------|
-------------7----10----|-----------------------|------------------------|
--8R---10---------------|-----------------------|------------------------|
Pattern 4
--------------------------|-------------------------|--------------10----12----|
--------------------------|-------------------------|--10----13R---------------|
--------------------------|--------------9----12----|--------------------------|
--------------------------|--10R---12---------------|----------------------
--------------10----12----|-------------------------|--------------------------|
--10----12----------------|-------------------------|--------------------------|
Pattern 5
--------------------------|--------------------------|--------------12----15----|
--------------------------|--------------------------|--13R---15------------
--------------------------|--------------12----14----|--------------------------|
--------------------------|--12----14----------------|--------------------------|
--------------12----15R---|--------------------------|--------------------------|
--12----15----------------|--------------------------|--------------------------|
Pattern 6
--------------------------|--------------------------|--------------15----17----||
--------------------------|--------------------------|--15----17----------------||
--------------------------|--------------14----17R---|--------------------------||
--------------------------|--14----17----------------|--------------------------||
--------------15R---17----|--------------------------|---------------------
--15----17----------------|--------------------------|--------------------------||
Here you can see that the same patterns but the roots have been changed. The change in roots for the patterns isnt very difficult at all. You can take the the pattern for the Minor scale, and root moves up one note.
So in the case of pattern 2, The root note for the minor is on the 5th fret, and the root note for the major is on the 8th fret. So all you are doing is moving the root one note forward in the pattern to change from minor to major.
These major patterns also fall into a different key because there is a change in the root note. These patterns shown above are the C major Pentatonic scales. What?!?! You might think this is strange, but starting at the root note, they have totally different tone feel. So the A minor pentatonic scale and the C major pentatonic scale might be made of the same notes (A C D E G) but depending on what note you start on, you give the scale a whole different feel.
All you need to do is learn the 5 patterns and how the root notes change for major and minor scales and you will be well on your way to being able to improvise a solo over nearly every song your hear. This is one of the most powerful tools for a learning guitarist. So make sure to memorise the patterns and think about how to apply them, use your ears and have fun! Hope this was a good first lesson. Chris.
The Major Scale
The major scales are not used much in today’s music, but can be very useful to know. By today’s music I mean most metal/hard rock. Metal, while being mostly inclusive of minor keys, still includes a good deal of use of the major scale. It is a great warm-up and a skill to get you playing faster in no time. The major scale also helps with finger strength.
As you may know the major scales have many great uses in soloing and creating riffs in your own songs. You can also “improvise” a lot easier and quicker with the knowledge of scales.
Here is the basic structure of the scale.
e|------------------------|
B|------------------------|
G|------------------------|
D|----------2-4-5---------|
A|-----2-3-5-----5-3-2----|
E|-3-5----------------3-5-|
That was a “G Major” scale.
The fingering to play the major scales is pretty simple. Start with your middle finger on (in this case) the third fret. Then put your pinky on the fifth. Next, put your first finger on the second fret. Now put your middle finger on the third fret. After that, put pinky on the fifth fret. Next, put your first finger on the second fret. Then, place your ring finger on the Fourth fret, Then your pinky on the fifth. Then just do that in reverse on the way down.
If that was a little confusing, it goes like this
- Middle
- Pinky
- First
- Middle
- Pinky
- Index (first)
- Ring
- Pinky
Speed building in scales can take some time, but with the right practice and enough of it, you will be fast very quickly. I hope that that is the case for you with my teaching.
One way that you all know how to do is to start slow, and work it up to tempo. This way is very boring for most people. But I have some different ways to show you how to get faster – and quickly!
This is an exercise that you can use to get your scales going faster. It just is breaking it down into sections. It is very easy. And if you would like, with each note, say a number starting at “1”. Like this:
1. "1 2 1 1 2 3 2 1 1 2 3 4 3 2 1 1 2 3 4 5 4 3 2 1" ect…
e|---|-------|------------|---------------|--------------------|
B|---|-------|------------|---------------|--------------------|
G|---|-------|------------|---------------|--------------------|
D|---|-------|------------|---------------|--------------------|
A|---|-------|-----2------|-----2-3-2-----|-----2-3-5-3-2------|
E|-3—|-3-5-3-|-3-5---5-3--|-3-5-------5-3-|-3-5-----------5-3--|
e|------------------------|--------------------------|------------------------|
B|------------------------|--------------------------|------------------------|
G|------------------------|--------------------------|------------------------|
D|------------2-----------|---------2-4-2------------|----------2-4-5---------|
A|------2-3-5---5-3-2-----|----2-3-5------5-3-2------|-----2-3-5-----5-3-2----|
E|-3-5----------------3-5-|-3-5----------------5-3---|-3-5----------------3-5-|
As you can see, speed building can be pretty easy if you have the right practice and the right amount of effort and time.
Now, try changing it (putting a “twist” into it) – something like this:
e|----------------------------------|
B|----------------------------------|
G|----------------------------------|
D|----------------5---4---2---------|
A|---2-3-2-5---3--------------5-----|
E|-3---------5------------------3~--|
Now that you know how to do major scales, it will be very easy to write out your own songs.
Tapping Scales And Arpeggios
In this lesson we will cover:
01. Tapping on all strings and uting unwanted fret noise
02. Playing and constructing arpeggios
03. Tapping scales
04. Using these techinques to make a lick
Hopefully after this you should have good knowledge of tapping scales and arpeggios, how to make them and use them musically.
Tapping On All Strings And Uting Unwanted Fret Noise
Ok we all know to to tap, on pretty much any string, it can be a fairly simple process, but if your tapping on say the A string and then quickly skip to a tapping lick on the B string and back and forth, this can produce unwanted string noise and/or make the notes not sound clearly.
Lets take this lick first:
#tapped notes are in brackets()
E|-----------------------7h(12)p10p7------------------------------
B|----------------------------------------------------------------
G|-------------7h(12)p9p7-------------7h(12)p9p7------------------
D|----------------------------------------------------------------
A|--7h(14)p10p7---------------------------------7h(14)p10p7-------
E|----------------------------------------------------------------
In this lick, instead of normal tapping where you fret the notes then tap and pull off the rest, we are going to hold the first note, so for this lick the 7th fret which we are going to hammer-on from nowhere, to do this simply press down the fret quickly and then tap the bracketed 14th fret, then hammer-on the next note, the 10th fret and pull off to the 7 again, so like this:
Hold 7th, tap 14th, hammer-on 10 from the 7 and then pull off back to 9th fret.
It sounds confusing but this is the style were going to use as holding down all the frets and pulling them all off will be quite hard to do quickly and efficeintly.
If you try and play this lick you mite notice a few things:
1. The notes aren't all sounded clearly
2. A lot of fret buzz and unwanted noise
3. The notes on the lower strings don't sound clearly
To solve this follow these steps:
1. Make sure each tap is emphasised, especailly on the A string, tap quickly and strongly and make sure you pull off when you tap with your finger.
2. There are 2 main ways to mute the strings, these are the KEY techniques to playing these arpeggios correctly:
Fretting Hand Technique:
This is usefull in all aspects of playing but especailly in tapping, you want to try to place your index finger when playing notes slightly above the fret, so the tip is just making contact with the string above. This means that the string above is now clearly muted without wou worrying about it. As for the string below, with the index finger moved up slightly try and angle your finger so the under bit of your finger is resting on the string, this now mutes the string below. Practice this and eventually you will notice that you wont get much unwanted noise from over strings.
Right Hand Technique:
Allthough you may think the right hand just taps and leaves the fretboard until the next tap, you might want to consider keeping your hand resting near the bridge. Why? This then allows you to mute the strings slightly, don't put too much pressure, just have your hand rite above the strings ready to mute, focus on muting when you jump to a new string. Another good technique I use it to slightly angle my hand, have it so my wrist is aiming downwards slightly when descending and aiming upwards when ascending, this then means your hand is followig your fretting hand and muting behind it was it goes, so every string you leave will be muted and the next string will be free of noise and ready for a clean tap.
With all this advice you should practice a few simple licks to perfect your technique, it doesnt't really matter what you tap, for now, as long as you get your tapping clean. Having quite a bit of gain and mids on your amp will help too. Here are a few simple tapping licks to practice, these aren't any paticular shape or arpeggio, just to help you practice. It doesnt't really matter what finger you use for hammering-on, but I do advise to use your pinky more, you get more reach and it will definnitly help you on the lower strings and with certain shapes.
E|----------------------------5h(12)p8p5--------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5----------------5h(12)p8p5--------------
D|----------------------------------------------------------------
A|--5h(12)p8p5--------------------------------------5h(12)p8p5----
E|----------------------------------------------------------------
E|-------------------------------12h(19)p15p12----------------------------
B|------------------------------------------------------------------------
G|-----------------12h(19)p15p12---------------12h(19)p15p12--------------
D|------------------------------------------------------------------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12-
E|------------------------------------------------------------------------
E|-------------------------4h(11)p7p4-----------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5------------5h(12)p8p5------------------
D|----------------------------------------------------------------
A|--6h(13)p9p6-----------------------------------6h(13)p9p6-------
E|----------------------------------------------------------------
# don't forget you don't have to play the A, G and E strings, mix it up, you can tap a note twice, tapping the A string and the E string twice can really make your lick stand out
Playing And Constructing Arpeggios
Now weve got the technique down lets learn how to construct and play tapped arpeggios. Well we all now an arpeggio is just the individual notes of a chord play seperatly, so lets take a A minor chord. This is made up of notes A C and E. So all we do is find these notes on each string and play them like so:
E|--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5------
On the E string the notes are 5 - A 8 - C 12 - E
So in basic forms this is an A minor arpeggio on the high E string. Now all we need to do is work out the notes on the other strings, like so:
E|--0--5--8--12--17--20--24---------------------------------------
B|--1--5--10--13--17--22------------------------------------------
G|--2--5--9--13--17--21-------------------------------------------
D|--2--7--10--13--19--22------------------------------------------
A|--0--3--7--12--15--19--24---------------------------------------
E|--0--5--8--12--17--20--24---------------------------------------
All these notes are A C or E, so any combination of these in a tapped lick would be a A minor arpeggio. So for example:
E|-----------------------5h(12)p8p5-------------------------------
B|----------------------------------------------------------------
G|-------------2h(9)p5p2------------2h(9)p5p2---------------------
D|----------------------------------------------------------------
A|--3h(12)p7p3--------------------------------3h(12)p7p3----------
E|----------------------------------------------------------------
E|----------------------------------------------------------------
B|--------------------------5h(13)p10p5---------------------------
G|----------------------------------------------------------------
D|-------------7h(13)p10p7--------------7h(13)p10p7---------------
A|----------------------------------------------------------------
E|--5h(12)p8p5--------------------------------------5h(12)p8p5----
E|-----------------------------------------------------------------------
B|------------------------------13h(22)p17p13----------------------------
G|-----------------------------------------------------------------------
D|----------------13h(22)p19p13---------------13h(22)p19p13--------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12
E|-----------------------------------------------------------------------
Any mixture of these would be a successful A minor arpeggio. You don't have to just use 3 note chords, you can use anything, diminished, major 7th, suss or add chords. All you have to do is know the notes of the chord and find them on the fretboard. So for example a C major 7th has the notes B C E and G. Although we can put these all on one string, it's easier to divide them up accross the strings like so:
E|--0--3--7--8--12--15--19--20--24--------------------------------
B|--0--1--5--8--12--16--17--19--20--------------------------------
G|--0--4--5--9--12--16--17--21------------------------------------
D|--2--5--8--9--14--17--20--21------------------------------------
A|--2--3--7--10--14--15--19--22-----------------------------------
E|--0--3--7--8--12--15--19--20--24--------------------------------
As long as your lick has all of the notes alltogether it will sound right. So an example lick would be:
E|-----------------------------------3h(12)p7p3-------------------
B|----------------------------------------------------------------
G|------------------------4h(12)p7p4------------4h(12)p7p4--------
D|-------------2h(10)p5p2-----------------------------------------
A|----------------------------------------------------------------
E|--3h(12)p7p3----------------------------------------------------
E|----------------------------------------------------------------
B|-----------------------------------5h(12)p8p5-------------------
G|----------------------------------------------------------------
D|--2h(10)p5p2----------------------------------------------------
A|------------------------2h(7)p3p2-------------------------------
E|-------------3h(12)p7p3-----------------------------------------
And there you have a C major 7th tapped arpeggio!
Tapping Scales
Tapping scales is actually a lot easier than it sounds. A bit like the arpeggio, you use the notes of the scale to construct the tapping lick. Here we can see a simple A minor pentatonic tapped scale:
E|--------------------------------------------------------5h(12)p8p5--------
B|---------------------------------------------5h(13)p8p5-------------------
G|----------------------------------5h(12)p7p5------------------------------
D|-----------------------5h(12)p7p5-----------------------------------------
A|------------5h(12)p8p5----------------------------------------------------
E|--5(12)p8p5---------------------------------------------------------------
As you can see we have the simple pentatonic box shape, and the tapped notes are all part of the scale too so it fits. If we wanted to make a C major scale tapping lick, it should be easy, as we know the C major scale has the notes A, B, C, D, E, F, G, we simply use these in this lick, making sure all the notes consist of any combination of these, as long as your lick, no matter how long or short contains all of these notes at least once, it will make a legit scale tapping lick. So heres an example of a C major scale tapping excersise:
E|------------------------------------------------------------9h(15)p12p9---
B|------------------------------------------------9h(15)p12p9---------------
G|------------------------------------7h(14)p10p7---------------------------
D|------------------------7h(14)p10p7---------------------------------------
A|-------------5h(12)p8p5---------------------------------------------------
E|--5h(12)p8p5--------------------------------------------------------------
I could of used notes anywhere as long as the contained all the notes from the scale, you can split this up, descend and ascend and move the shapes an octave along.
Using These Techinques To Make A Lick
Now weve understood these techniques heres a brief description on how to use them musically. it's actually really simple, think of any chord progression you like, now turn it into tapped arpeggios. So we can have anything from a E, D, C progression to a Am, C, G, Em progression, it will work well. For example heres a G major 7th, C major, A minor progression:
G major 7th
E|------------------------------10h(15)p14p10------------------------------
B|-------------------------------------------------------------------------
G|----------------11h(16)p12p11---------------11h(16)p12p11----------------
D|-------------------------------------------------------------------------
A|--10h(17)p14p10-------------------------------------------10h(17)p14p10--
E|-------------------------------------------------------------------------
C major
E|-------------------------7h(12)p10p7----------------------------
B|----------------------------------------------------------------
G|--------------7h(12)p9p7-------------7h(12)p9p7-----------------
D|----------------------------------------------------------------
A|--7h(14)p10p7-----------------------------------7h(14)p10p7-----
E|----------------------------------------------------------------
A minor
E|------------------------5h(11)p8p5------------------------------
B|----------------------------------------------------------------
G|-------------6h(12)p9p6------------6h(12)p9p6-------------------
D|----------------------------------------------------------------
A|--5h(12)p9p5----------------------------------5h(12)p9p5--------
E|----------------------------------------------------------------
Hope this lesson helps you out.
Speed Playing
In this lesson were going to cover all aspects of playing fast guitar, including speed picked runs, legato phrases and economy picking phrases. Hopefully at the end of this lesson you should have some useful warm up excersises, tips on all picking aspects and lots of excersises to practise with.
This lesson will be split into 5 sections :
1. Warm up excersises
2. Alternative picking
3. Economy picking
4. Legato playing
5. Using these tips musically
Warm Up Excersises
These are a list of simple excersises that are useful for quickly warming up both your hands before playing these excersises. I use these almost everyday and they don't take long but they get your hands all warmed up, getting blood into your hands and getting the muscles pumped into your fingers so after a quick few excersises you feel like youve been playing for hours.
First were going to warm up, were going to give all your fingers are work out. The main focus of warming up fast though is to aim to get your index and pinky fingers warmed up as the rest of the hand will follow. Lets get started:
E|----------------------1h2p1------------------------------------------2h3-
B|------------------1h2-------2p1----------------------------------2h3-----
G|--------------1h2---------------2p1--------------------------2h3---------
D|----------1h2-----------------------2p1------------------2h3-------------
A|------1h2-------------------------------2p1----------2h3-----------------
E|--1h2---------------------------------------2p1--2h3---------------------
E|--3p2-----------------------------------------3h4p3-----------------------
B|------3p2---------------------------------3h4-------4p3-------------------
G|----------3p2-------------------------3h4---------------4p3---------------
D|--------------3p2-----------------3h4-----------------------4p3-----------
A|------------------3p2---------3h4-------------------------------4p3-------
E|----------------------3p2-3h4---------------------------------------4p3---
E|----------------------4h5p4-----------------------------------------5h6---
B|------------------4h5-------5p4---------------------------------5h6-------
G|--------------4h5---------------5p4-------------------------5h6-----------
D|----------4h5-----------------------5p4-----------------5h6---------------
A|------4h5-------------------------------5p4---------5h6-------------------
E|--4h5---------------------------------------5p4-5h6-----------------------
E|--6p5-----------------------------------------6h7p6-----------------------
B|------6p5---------------------------------6h7-------7p6-------------------
G|----------6p5-------------------------6h7---------------7p6---------------
D|--------------6p5-----------------6h7-----------------------7p6-----------
A|------------------6p5---------6h7-------------------------------7p6-------
E|----------------------6p5-6h7---------------------------------------7p6---
This is an excersise which can be replayed with any 2 fingers. To also aide your picking hand you can alternate pick descending ( up, down, up) and sweep (up, up, up) ascending, or mix it up, but don't worry the main aim is to warm up your fretting hand fingers. With this excersise use:
1. Index and middle
2. Middle and ring
3. Ring and pinky
Next:
E|----------------------1h3p1-----------------------------------------2h4-
B|------------------1h3------3p1----------------------------------2h4-----
G|--------------1h3--------------3p1--------------------------2h4---------
D|----------1h3----------------------3p1------------------2h4-------------
A|------1h3------------------------------3p1----------2h4-----------------
E|--1h3--------------------------------------3p1--2h4---------------------
E|--4p2-----------------------------------------3h5p3-----------------------
B|------4p2---------------------------------3h5-------5p3-------------------
G|----------4p2-------------------------3h5---------------5p3---------------
D|--------------4p2-----------------3h5-----------------------5p3-----------
A|------------------4p2---------3h5-------------------------------5p3-------
E|----------------------4p2-3h5---------------------------------------5p3---
E|----------------------4h6p4-----------------------------------------5h7---
B|------------------4h6-------6p4---------------------------------5h7-------
G|--------------4h6---------------6p4-------------------------5h7-----------
D|----------4h6-----------------------6p4-----------------5h7---------------
A|------4h6-------------------------------6p4---------5h7-------------------
E|--4h6---------------------------------------6p4-5h7-----------------------
E|--7p5-----------------------------------------6h8p6-----------------------
B|------7p5---------------------------------6h8-------8p6-------------------
G|----------7p5-------------------------6h8---------------8p6---------------
D|--------------7p5-----------------6h8-----------------------8p6-----------
A|------------------7p5---------6h8-------------------------------8p6-------
E|----------------------7p5-6h8---------------------------------------8p6---
Ok this time use:
1. Index and ring fingers
2. Middle and pinky fingers
Next:
E|--------------------------------1h2h3p2p1---------------------------------
B|--------------------------1h2h3-----------3p2p1---------------------------
G|--------------------1h2h3-----------------------3p2p1---------------------
D|--------------1h2h3-----------------------------------3p2p1---------------
A|--------1h2h3-----------------------------------------------3p2p1---------
E|--1h2h3----------------------------------------------------------3p2p1----
E|--------------------------------2h3h4p3p2---------------------------------
B|--------------------------2h3h5-----------4p3p2---------------------------
G|--------------------2h3h4-----------------------4p3p2---------------------
D|--------------2h3h4-----------------------------------4p3p2---------------
A|--------2h3h4----------------------------------------------4p3p2----------
E|--2h3h4----------------------------------------------------------4p3p2----
E|--------------------------------3h4h5p4p3---------------------------------
B|--------------------------3h4h5-----------5p4p3---------------------------
G|--------------------3h4h5-----------------------5p4p3---------------------
D|--------------3h4h5-----------------------------------5p4p3---------------
A|--------2h4h5----------------------------------------------5p4p3----------
E|--3h4h5----------------------------------------------------------5p4p3----
E|--------------------------------4h5h6p5p4---------------------------------
B|--------------------------4h5h6-----------6p5p4---------------------------
G|--------------------4h5h6-----------------------6p5p4---------------------
D|--------------4h5h6-----------------------------------6p5p4---------------
A|--------4h5h6----------------------------------------------6p5p4----------
E|--4h5h6----------------------------------------------------------6p5p4----
E|--------------------------------5h6h7p6p5---------------------------------
B|--------------------------5h6h7-----------7p6p5---------------------------
G|--------------------5h6h7-----------------------7p6p5---------------------
D|--------------5h6h7-----------------------------------7p6p5---------------
A|--------5h6h7----------------------------------------------7p6p5----------
E|--5h6h7----------------------------------------------------------7p6p5----
This time use:
1. Index ,middle and ring fingers
2. Middle ,ring and pinky fingers
Next:
E|--------------------------------1h2h4p2p1---------------------------------
B|--------------------------1h2h4-----------4p2p1---------------------------
G|--------------------1h2h4-----------------------4p2p1---------------------
D|--------------1h2h4-----------------------------------4p2p1---------------
A|--------1h2h4----------------------------------------------4p2p1----------
E|--1h2h4----------------------------------------------------------4p2p1----
E|--------------------------------2h3h5p3p2---------------------------------
B|--------------------------2h3h5-----------5p3p2---------------------------
G|--------------------2h3h5-----------------------5p3p2---------------------
D|--------------2h3h5-----------------------------------5p3p2---------------
A|--------2h3h5----------------------------------------------5p3p2----------
E|--2h3h5----------------------------------------------------------5p3p2----
E|--------------------------------3h4h6p4p3---------------------------------
B|--------------------------3h4h6-----------6p4p3---------------------------
G|--------------------3h4h6-----------------------6p4p3---------------------
D|--------------3h4h6-----------------------------------6p4p3---------------
A|--------3h4h6----------------------------------------------6p4p3----------
E|--3h4h6----------------------------------------------------------6p4p3----
E|--------------------------------4h5h7p5p4---------------------------------
B|--------------------------4h5h7-----------7p5p4---------------------------
G|--------------------4h5h7-----------------------7p5p4---------------------
D|--------------4h5h7-----------------------------------7p5p4---------------
A|--------4h5h7----------------------------------------------7p5p4----------
E|--4h5h7----------------------------------------------------------7p5p4----
This one uses:
1. Index ,middle and pinky
Next:
E|--------------------------------1h3h4p3p1---------------------------------
B|--------------------------1h3h4-----------4p3p1---------------------------
G|--------------------1h3h4-----------------------4p3p1---------------------
D|--------------1h3h4-----------------------------------4p3p1---------------
A|--------1h3h4----------------------------------------------4p3p1----------
E|--1h3h4----------------------------------------------------------4p3p1----
E|--------------------------------2h4h5p4p2---------------------------------
B|--------------------------2h4h5-----------5p4p2---------------------------
G|--------------------2h4h5-----------------------5p4p2---------------------
D|--------------2h4h5-----------------------------------5p4p2---------------
A|--------2h4h5----------------------------------------------5p4p2----------
E|--2h4h5----------------------------------------------------------5p4p2----
E|--------------------------------3h5h6p5p3---------------------------------
B|--------------------------3h5h6-----------6p5p3---------------------------
G|--------------------3h5h6-----------------------6p5p3---------------------
D|--------------3h5h6-----------------------------------6p5p3---------------
A|--------3h5h6----------------------------------------------6p5p3----------
E|--3h5h6----------------------------------------------------------6p5p3----
E|--------------------------------4h6h7p6p4---------------------------------
B|--------------------------4h6h7-----------7p6p4---------------------------
G|--------------------4h6h7-----------------------7p6p4---------------------
D|--------------4h6h7-----------------------------------7p6p4---------------
A|--------4h6h7----------------------------------------------7p6p4----------
E|--4h6h7----------------------------------------------------------7p6p4----
This one uses:
1. Index ,ring and pinky fingers.
Last one now:
E|------------------------------------------1h2h3h4p3p2p1----------------
B|----------------------------------1h2h3h4---------------4p3p2p1--------
G|--------------------------1h2h3h4-------------------------------4p3p2p1
D|------------------1h2h3h4----------------------------------------------
A|----------1h2h3h4------------------------------------------------------
E|--1h2h3h4--------------------------------------------------------------
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|--4p3p2p1-------------------------------------------------2h3h4h5------
D|----------4p3p2p1---------------------------------2h3h4h5--------------
A|------------------4p3p2p1-----------------2h3h4h5----------------------
E|--------------------------4p3p2p1 2h3h4h5------------------------------
E|----------2h3h4h5p4p3p2------------------------------------------------
B|--2h3h4h5---------------5p4p3p2----------------------------------------
G|--------------------------------5p4p3p2--------------------------------
D|----------------------------------------5p4p3p2------------------------
A|------------------------------------------------5p4p3p2----------------
E|--------------------------------------------------------5p4p3p2-3h4h5h6
E|----------------------------------3h4h5h6p5p4p3------------------------
B|--------------------------3h4h5h6---------------6p5p4p3----------------
G|------------------3h4h5h6-------------------------------6p5p4p3--------
D|----------3h4h5h6-----------------------------------------------6p5p4p3
A|--3h4h5h6--------------------------------------------------------------
E|-----------------------------------------------------------------------
E|----------------------------------------------------------4h5h6h7------
B|--------------------------------------------------4h5h6h7--------------
G|------------------------------------------4h5h6h7----------------------
D|----------------------------------4h5h6h7------------------------------
A|--6p5p4p3-----------------4h5h5h7--------------------------------------
E|----------6p5p4p3-4h5h6h7----------------------------------------------
E|--7p6p5p4--------------------------------------------------------------
B|----------7p6p5p4------------------------------------------------------
G|------------------7p6p5p4----------------------------------------------
D|--------------------------7p6p5p4--------------------------------------
A|----------------------------------7p6p5p4------------------------------
E|------------------------------------------7p6p5p4----------------------
You can pretty much guess what fingers are required here. Now you should be very warmed up, as mentioned earlier some of these hammer-ons and pull offs are quite hard and instead just pick the notes if it's easier.
Alternative Picking
Alternative picking is probably the hardest, used by players like Michael Angelo and Buckethead, this picking style involves picking up and then down repeatly. Even if your changing strings you will have to have a constant up, down, up, down pattern. Alternative picking gives an aggressive, attacking sound when played. Below is a small excersise and we will discuss tips on getting your alternative picking accurate:
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-----------12-13-12----------------12-13-12----------------12-13-12----
A|--12-14-15----------15-14-12-14-15----------15-14-12-14-15-------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U
This is a simple repeat lick excersise, you can play this sort of thing almost anywhere to feel comfortable but we will use this one now for starters. Play this lick constantly using the up, down, up, down motion. So the main issue I'm sure you'l find here is the upstroke on the string change down and the downstroke on the string change up. Practise this likc super slow and build up speed then try these:
E|--8-7-------------------7-8-7-------------------7-8-7------------------
B|------8-7-----------7-8-------8-7-----------7-8-------8-7--------------
G|----------8-7-5-7-8---------------8-7-5-7-8---------------8-7-5--------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D U D U D U D U D
E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D
E|-----------10----------------10----------------10----------------10----
B|--------11----11----------11----11----------11----11----------11-------
G|-----12----------12----12----------12----12----------12----12----------
D|--11----------------11----------------11----------------11-------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U
That last one may seem tricky, as it's so tempting to sweep/economy pick it, but if you can pull it off it's very useful for training your picking hand. Remeber the key to this picking style is the ability to hit a new string below on an upstroke and a string above on a downstroke.
Economy Picking
Economy picking is a bit like alternative picking, up and down, but when you change string you pick in the direction of the change. So if you going to change to a string down you down stroke and a string up you upstroke. Try this example using economy picking:
E|---------------------------------------------------------------------
B|---------------------------------------------------------------------
G|---------------------------------------------------------------------
D|---------------------------------------------------------------------
A|----------9-12-10-9-10-12------------9-12-10-9-10-12------------9----
E|--9-10-12-----------------12-9-10-12-----------------12 9-10-12------
D U D D U D U D U U D U D D U D U D U U D U D D
Notice how your up and downpicking but on the string change you follow the direction of the strings, it's seems easier than alternative picking and gives are a more smooth, flowing sound, players like Yngwie Malmsteen use this technique a lot and it sounds great with legato playing. Try these out:
E|-----------12-14-15-17-15-14-12-------------12-14-15-17-15-14-12-------
B|--12-14-15----------------------15-12-14-15----------------------15----
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D D U D U D U D U D U D D U S U S U D U
E|--------12-10-------------12-10-------------12-10-------------12-10----
B|-----13-------11-------13-------11-------13-------11-------13------11--
G|--14-------------12-14-------------12-14-------------12-14-----------12
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U U D D D U U U D D D U U U D D D U U U
E|--------12-15p12---------12-15p12----------12-15p12----------12-15p12--
B|-----13---------13----13----------13----13----------13----13-----------
G|--12---------------12----------------12----------------12--------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U D D D U U D D D U U D D D U
Last one look familiar, it's a sweep picking shape. Economy picking is often refered to as sweep picking. So remeber, alternative pick on one string, pick with the direction of the string change when you change.
Legato Playing
Allthough technically not a picking style, it's is useful in playing fast. Some players don't prefer using legato and accuse it of "cheating". Legato is just as technical and useful in fast playing as any other of the techniques were using. Joe Satriani uses a lot of legato playing in his songs and they're incredibly fast. Legato is latin for "smoothly" and this technique does give an incredible smooth sound when played right. When hammer-ing on, make sure you hammer the string quickly and firmly, a lot of players only really use their middle or ring finger for this, but if you can train your pinky to do it you can reach whole new areas and create interesting licks. For pulling off, one of the main flaws players have is that when they pull off the accidently bend the string that they're pulling off to downwards, this makes the pull off sound out of tune. Make sure the finger your pulling off to holds the string firmly in place and your pulling finger to pluck strick forcefully to get a loud, full pull off.Try these licks out:
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-------9-7h9------9-7h9------9-7h9------9-7h9------9-7h9------9 7h9----
A|--10p7-------10p7-------10p7-------10p7-------10p7-------10p7----------
E|-----------------------------------------------------------------------
E|--12h13p12h13-------------------------------------12h13p12h13----------
B|--------------12h13p12h13-------------12h13p12h13----------------------
G|--------------------------10h13p10h13----------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|----------7p5--------------7p5-------------7p5-------------------------
B|-----------------------------------------------------------------------
G|------5h7-----7p5------5h7-----7p5-----7p5-----7p5---------------------
D|-----------------------------------------------------------------------
A|--5h7--------------5h7-------------5h7-------------5h7-----------------
E|-----------------------------------------------------------------------
For the first excersise a good technique is to barre the A and D strings with your first finger and then use your pinky and/or ring fingers to handle the hammer-ons and pull offs. As for the last excersise many players have difficulty changing to a lower string for a pull off, remeber to firmly place your first finger on the 5th fret and pluck the 7th fret downwards with your other finger to get an accurate pull off.
Using These Tips Musically
So we have warmed up, learnt pciknig styles and legato playing, now what? Well if you wanna play a fast lick, a lot of players simply use small licks like the excersises together, a combination of a few licks you've used can create a large, fast solo. As long as your playing is in key with the song you can make lots of speedy solo's using these small repeat excersises, like so:
E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|--14-15-14-12-------------------------------------14h15p14h15----17b(19)
B|--------------15-14-12-----------------12---------------------14-------
G|-----------------------15-14-12--12h14----15b(17)----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|-----------17-15-14----------------------------------------------------
B|--17-15-14-------------------15-14-12----------------------------------
G|--------------------15-14-12-------------------14-12-10----------------
D|--------------------------------------14-12-10-----------------12-10-9-
A|--------------------------------------------------------12-10-9--------
E|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------15p12-
G|-----------------------------------------------------------15p12-------
D|------------------------------------------------9-10-12-14-------------
A|----------------9-10-12-10-9------------9-10-12------------------------
E|--12-10-9-10-12--------------12-9-10-12--------------------------------
E|--15p12----------------------------------------------------------------
B|--------15b(17)--------------------------------------------------------
G|----------------9h12---------9h12---------9h12---------9h12---------9--
D|---------------------12-9h12------12-9h12------12-9h12------12-9h12----
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|-------9-12p9---------9-12p9---------9-12p9---------9-12p9-------------
B|----10--------10---10--------10---10--------10---10--------10b(12)-10--
G|--9--------------9--------------9--------------9-----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
As you can see all I did was use small licks together to create a large solo, now make your own.
Creative Chords: Drone Voicings
To begin with, let's take a look at the two note chords were going to be using to move up and down the fretboard with. They are all in the key of C Major. Each chord consists of the Tonic (bottom note) and it's third (top).
Em F G Am Bm C Dm Em
|--------------------------------------------||
|--------------------------------------------||
|-0----2----4----5----7-----9----10----12----||
|-2----3----5----7----9----10----12----14----||
|--------------------------------------------||
|--------------------------------------------||
The open strings we will utilise for the time being will be the 5th(A) and 2nd(B) strings.
|---------------||
|----------0----||
|---------------||
|---------------||
|-0-------------||
|---------------||
Now to combine the two. This first example is an 8th-note sequence starting on the open 5th string playing through an Em/A chord to it's open second string at which point we move to the next chord shape, starting again on the open 5th string and down to the open second string then changing again, continuing in this fashion until the end. You should be playing 2 notes per beat so practice to a metronome or drum machine if you need to. Alternate picking is good to use but downstrokes are OK at a slow to medium speed. With regards to LH fingerings, the first finger should fret all the notes on string 3 whilst the middle and third fingers can do the job for string 4. Chords with fretted notes side by side (2, 3 and 6) would use the middle finger, whilst Chords 4, 5, 7 and 8 would use the third finger. The Em/A chord at the beginning should use the middle finger.
Em/A A+sus2 G/A Amadd9 Bm/A Cmaj7/A Dm6/A Em/A
E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E
|----------------------------------------------------------------------||
|-------0-------0-------0-------0-------0--------0---------0---------0-||
|-----0-------2-------4-------5-------7--------9--------10--------12---||
|---2-------3-------5-------7-------9-------10-------12--------14------||
|-0-------0-------0-------0-------0-------0--------0---------0---------||
|----------------------------------------------------------------------||
As part of good practice, it would be a good idea to play the sequence backwards too. Here's what that would look like.
Em/A Dm6/A Cmaj7/A Bm/A Amadd9 G/A A+sus2 Em/A
E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E
|---------------------|------------------|-----------------|-----------------||
|---------0---------0-|--------0-------0-|-------0-------0-|-------0-------0-||
|------12--------10---|------9-------7---|-----5-------4---|-----2-------0---||
|---14--------12------|---10-------9-----|---7-------5-----|---3-------2-----||
|-0---------0---------|-0--------0-------|-0-------0-------|-0-------0-------||
|---------------------|------------------|-----------------|-----------------||
The next idea is to mix up the arpeggiation pattern a little, just to make things more interesting. Here's something you could do that employs a string skipping pattern to the same sequence of chords, creating a different sound.
Em/A A+sus2 G/A Amadd9 Bm/A Cmaj7/A Dm6/A Em/A
E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E
|----------------------------------------------------------------------||
|-------0-------0-------0-------0-------0--------0---------0---------0-||
|---0-------2-------4-------5-------7-------9--------10--------12------||
|-----2-------3-------5-------7-------9-------10--------12--------14---||
|-0-------0-------0-------0-------0-------0--------0---------0---------||
|----------------------------------------------------------------------||
Ok. So far we've used strings 5 and 2 as the drone notes, but we could also use the high 'E' string if we wanted to. The next example is similar to the previous ones, only this time we're going to arpeggiate a little longer on each chord by using the extra drone string. If you use alternate picking for this sequence and aim for greater speed, it can make for good practice. It's also useful as a warm up exercise.
Em/A A+sus2 G/A Amadd9
E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E
|---------0-------|---------0-------|---------0-------|---------0-------|
|-------0---0-----|-------0---0-----|-------0---0-----|-------0---0-----|
|-----0-------0---|-----2-------2---|-----4-------4---|-----5-------5---|
|---2-----------2-|---3-----------3-|---5-----------5-|---7-----------7-|
|-0---------------|-0---------------|-0---------------|-0---------------|
|-----------------|-----------------|-----------------|-----------------|
Bm/A Cmaj7/A Dm6/A Em/A
E E E E E E E E E E E E E E E E E E E E E E E E E E E E H
|---------0-------|----------0--------|-----------0---------|-----------0----*|
|-------0---0-----|--------0---0------|---------0---0-------|---------0------*|
|-----7-------7---|------9-------9----|------10-------10----|------12--------*|
|---9-----------9-|---10-----------10-|---12-------------12-|---14-----------*|
|-0---------------|-0-----------------|-0-------------------|-0--------------*|
|-----------------|-------------------|---------------------|----------------*|
The next example I going to show you is a variation that is a little more challenging and unconventional, starting on the high 'E' string and performing a few string skips here and there.
Em/A A+sus2 G/A Amadd9
E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E
|-0---------------|-0---------------|-0---------------|-0---------------|
|-----0-----------|-----0-----------|-----0-----------|-----0-----------|
|---0-----0-----0-|---2-----2-----2-|---4-----4-----4-|---5-----5-----5-|
|-------2-----2---|-------3-----3---|-------5-----5---|-------7-----7---|
|-----------0-----|-----------0-----|-----------0-----|-----------0-----|
|-----------------|-----------------|-----------------|-----------------|
Bm/A Cmaj7/A Dm6/A Em/A
E E E E E E E E E E E E E E E E E E E E E E E E E E E E H
|-0---------------|-0-----------------|-0--------------------|-0--------------*|
|-----0-----------|-----0-------------|------0---------------|---0------------*|
|---7-----7-----7-|---9------9------9-|---10------10------10-|-----12---------*|
|-------9-----9---|-------10-----10---|--------12------12----|--------14------*|
|-----------0-----|------------0------|--------------0-------|-----------0----*|
|-----------------|-------------------|----------------------|----------------*|
Lastly, here are two ideas written as Riffs and which utilise some of the patterns and chords we've covered in the lesson. Note the strumming at the end of Idea 2 instead of any picking.
Idea 1
Amadd9 Cmaj7/A Dm6/A A+sus2
E E E E E E E E E E E E E E E E E E E E E E E E E E E E H
||----------0-------|----------0--------|-----------0---------|---------0----||
||o-------0---0-----|--------0---0------|---------0---0-------|-------0-----o||
||------5-------5---|------9-------9----|------10-------10----|-----2--------||
||----7-----------7-|---10-----------10-|---12-------------12-|---3----------||
||o-0---------------|-0-----------------|-0-------------------|-0-----------o||
||------------------|-------------------|---------------------|--------------||
Idea 2
Em/A Dm6/A
E E E E E E E E E E E E E E E E
||----------------------|---------------------|
||o---0---------------0-|---0---------------0-|
||---------12------12---|--------10------10---|
||------14------14------|-----12------12------|
||o-0---------0---------|-0---------0---------|
||----------------------|---------------------|
Amadd9 A+sus2G/A
E E E E E E E E H H
|---------0-------|-^0----^0-----||
|-------0---0-----|-^0----^0----o||
|-----5-------5---|-^2----^4-----||
|---7-----------7-|-^3----^5-----||
|-0---------------|-^0----^0----o||
|-----------------|--------------||
And so concludes this lesson. I hope it's opened your mind a little, and encourage you to experiment with these ideas and come up with your own sounds. You can even add in extra fretted notes to go with the Drone strings if you'd like, further expanding the voicing possibilities. Through my own experimentations, I have learned that virtually any combination of open string / chord fragment combination moved up into the higher reaches of the fretboard can help to create wondrous and unconventional sounds.
Regards and Happy practice
"Caged" Minor/Major Chord Utilization
"Caged" Minor Chord Locating System
Much like the "Caged" system for a major chord, there is also a system of shapes,
to help you find your minor chords all across the fretboard, in any area you want.
The shapes for Caged minor are: Cm-Am-Gm-Em-Dm
You can start on any of these shapes, but simply go up through the shapes, visualizing
the Root and where it falls on the fretboard.
Example in key of Am: Each of these chords is a different Am voicing in a different area on the fretboard. ( ) indicates the chord shape.
(Gm) (Em) (Dm) (Cm) (Am)
|------5----8-----12----12--|
|-5----5----10----10----13--|
|-2----5----9-----9-----14--|
|-2----7----7-----10----14--|
|-3----7----------------12--|
|------5--------------------|
As you can see, the pattern follows the cycle forever, regardless of what shape you start on.
Remember these are simply the "Chord Shapes" not, the chord name.
By memorizing these chord shapes and where they are for a particular key, you are learning to visualize the fretboard and will be able to find extended voicings, and arpeggios much easier and faster.
"Caged" Major Chord Locating System
Much like the Minor Chord "Caged" system the major chord system follows the same formula with the use of the chord shapes.
The shapes for Caged major are C-A-G-E-D
Example in key of C: Each of these chords is a different C voicing in a different "zones" on the fretboard. ( ) indicates the chord shape.
(C) (A) (G) (E) (D)
|-0-----------8---12-|
|-1---5---5---8---13-|
|-0---5---5---9---12-|
|-2---5---5---10--10-|
|-3---3---7---10-----|
|---------8---8------|
For these voicings, you can simplify the chords down, just remembering to keep all 3 notes of the triad in the chord.
Minor And Major "Caged" Usage
By combining the voicings of the Minor and Major chords found in the "CAGED" system, you can see how it's very easy to cover a lot of chords in one small "zone" of the fretboard. Here's how we put it into use, to avoid stale chord progressions and overused voicings.
Remember you can comp each of these chords down into smaller pieces. This makes finding extended voicings much easier
Here's an example of how you can make a chord progression much easier. Say the progression is in the key of Am.
Chords making up Am.
| i | ii | III | iv | v | VI | VII|
| Am | Bm7b5| C | Dm | Em | F | G |
Ignoring the ii which is a m7b5 or half-diminished Chord, we see we have 7 total chords that fit into our "Caged" Minor/Major shapes.
Lets make a progression that uses some of these chords and try to stay in the smallest possible "zone" on the fretboard. Also try to do this in different areas of the fretboard.
Example: Using this progression, find the chords for the "zone" around the 5 fret.
Am - F - C - Em - Dm - G - Am
Am F C Em* Dm G Am
|-5---5-------7---5---7---5--|
|-5---6---5---5---6---8---5--|
|-5---5---5---4---7---7---5--|
|-7---7---5---5---7---5---7--|
|-7---8---7---7---5-------7--|
|-5-------8---------------5--|
*Normally, you would most likely think to go up the the Em shape at the 7 fret. But stay in the same area, and you see how you really don't have to move much.
Now you start to see how each of these chords is physically related to one another. These chord shapes can be simplified down to small triads which is another good excersise to work on.
Using "Caged" To Make Extended Voicings
As you may have started to figure out, by memorizing each of these shapes, you will begin to find small chord modulations which work with certain shapes. This will allow you to have a much better grasp on both extended chord voicings, as well as improvisation. Your ear will know what sounds good for a particular chord, and your progressions will begin to have a much better flow, and sound better.
For example here's a pretty basic chord progression that works but doesn't sound like anything special with the voicings that are being used.
Key: G
C G F
|-----3---1-|
|-5---3---1-|
|-5---4---2-|
|-5---5---3-|
|-3---5---3-|
|-----3---1-|
This sounds quite bland, and has been used millions of times. Lets find these chords in one specific "zone" at 5 fret.
C G D
|-----7-----|
|-5---8---7-|
|-5---7---7-|
|-5---5---7-|
|-7-------5-|
|-----------|
That sounds better, but now lets extend these chords to implement more advanced voicings.
Here's one possibility:
Cmaj7 Gmaj6 D7
|-7----7------|
|-5----5----7-|
|-5----7----5-|
|-5----5----7-|
|-----------5-|
|-------------|
Now apply this method of finding new chords and extended voicings, to better learn the fingerboard, and how chord relate to one another.
from :Ultimate Guitar
Imroving Your Reach
Before you begin try this:
Stretch your fingers with your picking hand, focusing the most on stretching your index and pinky apart, if it hurts you are applying too much pressure. After a decent hand stretching warm up try these exercises.
Try this in Triplets and gradually increase in tempo.
Ex. 1: Use your Index and Middle Fingers only.
e|-------------------------------0-1-2-|
B|-------------------------0-1-2-------|
G|-------------------0-1-2-------------|
D|-------------0-1-2-------------------|
A|-------0-1-2-------------------------|
E|-0-1-2-------------------------------|
Than replay Ex. 1, and add this afterward, and adding the following exercises in order, and continue increasing in tempo.
Ex. 2: Use your index and ring finger, and if you need more of a challenge try your index and middle, or your middle and pinky.
e|-------------------------------0-1-3-|
B|-------------------------0-1-3-------|
G|-------------------0-1-3-------------|
D|-------------0-1-3-------------------|
A|-------0-1-3-------------------------|
E|-0-1-3-------------------------------|
Ex. 3: Use your index and pinky or your index and ring.
e|-------------------------------0-1-4-|
B|-------------------------0-1-4-------|
G|-------------------0-1-4-------------|
D|-------------0-1-4-------------------|
A|-------0-1-4-------------------------|
E|-0-1-4-------------------------------|
Ex. 4: Use your index and pinky.
e|-------------------------------0-1-5-|
B|-------------------------0-1-5-------|
G|-------------------0-1-5-------------|
D|-------------0-1-5-------------------|
A|-------0-1-5-------------------------|
E|-0-1-5-------------------------------|
Now this is more of a challenge, don't worry if you have trouble with this. It can be a real challenge to bar and stretch, but with practice this exercise will increase your span a ton.
Ex. 5: Bar the third fret with your index and do not remove your index finger from the fretboard.
e|-------------------------------3-7-3-|
B|-------------------------3-7-3-------|
G|-------------------3-7-3-------------|
D|-------------3-7-3-------------------|
A|-------3-7-3-------------------------|
E|-3-7-3-------------------------------|
<-----<-----<-----<-----<-----<----|Bar the 3rd fret.
I hope this helps, I practice it frequenly and it seems to be a great warm up.
Drop me a line, best of luck!
from :Guitar Music
Gain Control
This is my first post and my first lesson that I have posted on Ultimate Guitar. So please pardon me if there is any spelling errors (I have seen lessons where the spelling and grammar was so bad, it spoiled the content of the “message”) plagiarism (not that I’m copying other people’s work. I just think it may be possible that other people said the same things before.), or technical problems.
The topic and aim of my lesson will be on gaining control with your left-hand or fingering-hand. Most of these exercises were not thought out by guitar virtuoso’s, although they might use similar workouts, but rather by me playing around and searching for what works and what does not work, for me. I hope that these exercises will help you guys gain more control with your fingering hand, as it has helped me.
Okay, let us start off. This is the most basic of all fingering and control exercises there are.
Exercise 1.
e-----------------------------------------5-6-7-8-
B---------------------------------5-6-7-8---------
G-------------------------5-6-7-8-----------------
D-----------------5-6-7-8-------------------------
A---------5-6-7-8---------------------------------
E-5-6-7-8-----------------------------------------
Remember to play it ascending and descending. When this 5,6,7,8 run starts getting boring, try playing it in a different form. For example: 5,8,7,6 or 8,6,5,7 or 6,5,8,7. Work out every possible combination for the 5,6,7,8 run.
Remember to use each individual finger for each fret, and to use alternating picking. This is very basic. I would say this exercise will benefit the player who is starting out, rather than the shredder. But I still use it to warm up.
The next one is a bit harder for the beginner, but I doubt that any guy who has been playing for years will struggle with this.
Exercise 2.
e------------------------------------6---8-------------
B----------------------------6---8-5---7---------------
G--------------------6---8-5---7-----------------------
D------------6---8-5---7-------------------------------
A----6---8-5---7---------------------------------------
E--5---7-----------------------------------------------
Again, remember to do this exercise ascending and descing.
The next one is based on the same concept than the previous exercise, but it may be a bit harder for some guys:
Exercise 3.
e-----------------------8----8--------------------------
B---------------8---6------------6---8------------------
G-------8---6---------7--------7---------6---8----------
D---6---------7---5----------------5---7---------6------
A-----7---5--------------------------------5---7--------
E-5------------------------------------------------5----
After you play it a couple of times, it really gets easy.
The next one I saw on a John Petrucci video on youtube, so some of these exercises were actually thought out by guitar virtuosos. And if you guys are big fans of him you might also have seen this video. But I think I might have changed the exercise a bit…
Exercise 4.
e--5--5--8--8-------------------------------------------
B--6--7--7--6--5--5--8--8-------------------------------
G--7--6--6--7--6--7--7--6--5--5--8--8-------------------
D--8--8--5--5--7--6--6--7--6--7--7--6-------------------
A--------------8--8--5--5--7--6--6--7-------------------
E--------------------------8--8--5--5-------------------
These are not to be used as chords for your songs, but rather as a means to gain control of your fingers, while using as little as possible movement.
The next one was inspired by the master himself, Joe Satriani. I saw a video of him on youtube, where he demonstrates fret-hand control exercises. These exercises were really hard, but one day we will all be able to master them. Joe is the man…
Exercise 5.
e-------------------------------------------
B-------------------------------------------
G--4--1--5--2--6--3--7--4-------------------
D--3--2--4--3--5--4--6--5-------------------
A--2--3--3--4--4--5--5--6-------------------
E--1--4--2--5--3--6--4--7-------------------
And then just continue with that idea as far down as you want to.
The next and final exercise of my first lesson will probably be very easy for a lot of guys. It uses hammer-on and pull-offs. I guess you may even say it uses legato. I like playing it to warm up and it does help increase speed, which is what most people strive for.
Exercise 6.
e--------------------------------5-7-8-7-5----------------------------------
B--------------------------5-6-8-----------8-6-5----------------------------
G--------------------4-5-7-----------------------7-5-4----------------------
D--------------5-7-9-----------------------------------9-7-5----------------
A--------5-7-8-----------------------------------------------8-7-5----------
E--5-7-8-----------------------------------------------------------8-7-5----
It is important to use hammers and pull-offs in this exercise.
I used the A-minor/C-major scale for this example.
from :Ultimate Guitar
Lesson For Palm Muting
*NOTE: you can skip this first paragraph if you want to*
I've seen two other palm muting lessons on UG, and I gotta say, I didn't get a lesson that was in-depth enough for me. Before I read these lessons, I already knew how to palm mute. Anyway, I'll show you in the best way I can right now how to palm mute, and give some tips and that good junk.
Palm muting is a widely used technique that every guitarist should know how to do, whether they use the technique or not. It's just placing your palm (hence the term "palm mute") over the strings by the bridge, and playing notes to give that tight, staccato-like sound.
When I said that palm muting is just placing your palm against the strings by the bridge, you don't actually place your palm on the strings, just part of it. What I do is I place the fulcrum point of my hand and forearm on the bridge, therefore the fulcrum touching the strings, which enables you to pal mute when you play notes.
*NOTE: Don't confuse the bridge and the tailpiece. The bridge is closer to the neck, while the tailpiece is farther from the neck. For those acoustic guitar players, in case you don't know, the tailpiece is the wide brown piece of wood, and the bridge is the narrow white piece of wood.*
If you play a palm muted note that sounds a half-tone higher than you wanted (for example, you would play a B but a C would sound), you're probably pressing too hard, so loosen up!
If you are playing palm muted notes with non-palm muted chords such as this:
e|-----------------------------------|
b|-----------------------------------|
g|-----------------------------------|
d|-----------------------------------|
a|-7---------7---7-7---------7-----7-|
e|-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-|
PM ------- - ------- ---
By the way, the dashes indicate that you should palm mute those notes.
So if you're playing something like that, you'll notice that you either lift your hand or move your hand towards the tail piece when you play non-palm muted notes, but it's most likely that you'll just lift your hand. Also you notice that when you lift your hand to play the chords, you sweep the pick (or thumb) in a circle-like movement, but when you play the mutes, you pick perpendicular to the strings. I don't know why I put that stuff in, but I thought it would help.
Two more things:
1 - You might find it hard to play pinch harmonics (if you know how to play them) after playing a palm muted note. Observe your hand when you play the harmonics and when you play the palm mutes, there's a difference in angle in how you play the two types of notes.
2 - There's also a difference in angle when you play non-palm muted notes and palm muted notes. When playing palm mutes, you might find your hand to be "controlled" and by that I mean not swinging your hand all over the place, and that your hand is more closed in and closer to your palm. When playing normal, non-muted notes, the hand is more relaxed and is farther from the palm.
If you give this lesson a bad rating, it's OK, I was bored and had nothing to do, and it's my first lesson. Hope this helps!
from :Ultimate Guitar
