One, two, three, four.
>> I would like to introduce you to
the stadium trill.
Of course a trill is just like a pull off,
but it just loops and keeps going.
And it's powered by the left hand,
which actually frees up your right hand to
do whatever you'd like with it.
I think the best thing to do is to stick
it in the air, and let that whole rocking
stadium know that you rock and you're just
gonna go wild with rock and roll.
So I know when I see all the pictures of
Joe Satriani or Jimmy Hendrix or.
You know, the great guitar players of, of
that have been photographed
they always seem to have their hand in the
air, and obviously, you know they're not,
they're not playing with it at that moment
because it's up in the air.
It's not playing the guitar.
So I'm pretty sure what they're doing
there [SOUND] is a trill.
So this is a great way to to play a trill
in a very visually stylistic way.
Now we'll save this for later.
Let's begin with just the trill itself.
And the last lesson we did, we worked on a
which basically just the, the, the core
element of a trill.
[NOISE] Being able to pick a note [NOISE],
and pull off [NOISE], to get another note.
One note for free.
[NOISE] But what happens here is once that
you hammer-on, that's a guitar term.
And we'll be hammering-on.
Now why do they call it hammer?
Cuz I guess hammer hits something and your
finger, is hitting the string.
Just like a hammer, to get that note
So you only have to pick it once, and your
pulling-off and it just gets that, that
becomes what's called a trill.
Now I have to give credit to a guitar
player, one of my heroes.
A guy named Frank Marino,
who has the fastest first finger trill
I've ever seen in my life.
He came out on stage and he went [NOISE].
And oh my god, it was unbelievable how
fast he did it [NOISE].
And for some reason, I've never worked on
my first finger trill that much.
I usually use my second finger [NOISE].
You know its just bigger,
or I dunno why, but both will work so
maybe try either one.
See which one's more comfortable for you.
I i definitely know the first finger one
because Frank Moreno just is fantastic at
it and I know the second one works,
cuz that's the one that works for me.
So, I did our gallop again that we're,
we're becoming really familiar with.
And that's good because we, can use as
much practice as this as possible to
really get it comfortable, and
But from there, I started the trill and
just kept it going.
how do you know how long you should go?
That's where the, the foot is gonna answer
Cuz I'm gonna do four beats, one, two,
three, four, one, two, three,
four, one, two, three, four, one, two,
three, four, so four beats of trill.
And does it really matter like how fast
Does it have to be accurate?
I don't know, I think.
I'm, I'm not thinking accuracy.
I'm just sort of thinking this random two
And whether it's a he, a little bit
slower, a little bit faster.
This, this isn't a place where I'm that
concerned with, with being super,
It's just gotta fill up that space.
And it's gotta start at the right place,
and it's gotta end at the right place.
So the beginning of it, the, or
That's really important,
that it starts right on the down beat.
And it's important that it ends right.
So those things, those transitions, again,
are, are the things to practice, and then
once you practice it and
it feels comfortable.
Now let's see one thing cuz we, this is
your first trill, so
I wanna make sure it's feeling all right.
I'm just gonna, I'm gonna slow it down.
And again as you slow it down, you can
really take apart the technique.
You can make sure there's no [SOUND] other
string noise getting in there.
Most of the medium I'm doing might be with
To keep these strings from ringing out.
I can stop those.
once you've developed this, and you're
ready to do the stadium move.
Obviously, you can't mute.
With this hand, when it's up in the air.
So, what do you do?
Basically, you can get away with about
four beats [SOUND],
before the other strings start making
So that's, you know, if I had to go
eventually I'd want to come back and hold
those and control them.
But I think for four beats we can get away
So let's, let's try it.
One, two, three, four.
There might a been a little noise but
you know, we, we have our choice there I
We, we can either do it, you know, totally
noise free and control it, or we can risk
having a little bit of noise in exchange
for having our fist in the air and, and
letting the people know that we're here to
Alright, let's, let's, we'll do em' back
You can hear the difference.
One, two, three, four.
So, it's really a lot of fun.
And I'm going to blast through in this and
try both fingers again.
Make sure, you know, try it with your
Let's look at the hand position.
For that, 'cuz I'm noticing when I play
In order to get a strong pull off,
I'm gonna have my hand in kind of an
You know, usually I got my hand closer to
the neck, but
this way I've got this part of my hand,
kind of down,
which allows me to get a nice strong
pull-off and hammer-on.
Now with the second finger.
That I have a little more of my
typical hand position, which is probably
why I prefer it for my own playing.
I suppose you could even test it out
with the other fingers.
Only they start running into this.
So, yeah, I'd recommend these first two.
And that's it.
So have fun with this one.
This one's a, a great thing to insert in
You know, a nice trill.
Hand in the air.
If you see a photographer in the audience
they're gonna be taking a picture of you
at that moment.
So, make a cool rock face and do that, do
that stadium trill.
All right, one, two, three, four.