>> One, two, three, four.
I like this stuff so much.
We're doing a lick, now this, this is
potentially a really fast lick but
we're going to put it in time.
we played this lick in the last example.
But I'm gonna repeat it a little more.
Let's see how many times.
It's four of them.
Four of these licks, they all start with
So we're going up.
in between we have a down right after it,
and that pull off.
You know that because you've been working
All right, so.
Now let's take a look what the first
finger is doing.
It, it may depend on how,
yeah it sort of depends on how fast.
The slower I go with this, the slower you
the more the ear of both you and their
audience will notice the details.
So in this case, at a slower tempo I'm
gonna move my first finger back and
forth on that string a little bit to keep
the note more separated.
If I just bar and hold it, [SOUND] They're
more likely to ring out.
Now in this case I want the notes to be
more separate, so
I'm doing little bit of a first finger
[SOUND] That way, the notes are really
clean, and separated, and precise.
Then our familiar bend with our giant,
with a finger, the one giant finger we've
constructed from putting four together.
[NOISE] quarter bend, [NOISE].
All right and then, I'm gonna do a rhythm
with just two parts.
The, the A power cord [NOISE].
Three notes [NOISE], and, we're gonna do a
single G note.
[SOUND] And I want to put a lot, lots of
sorta chickas between there.
I'm sort of doing
the chickas instead of doing a big chicka
on all the strings.
I'm doing a chicka,
just in that muted A string.
The fifth string, it's muted with my left
hand, alright let's see.
Let me check this out for a second.
Yeah I don't know
if it's a really exact science but I'm
aiming towards the lower strings,
just to make sure and get that nice chicka
Yeah now that I look at it,
it's more the low E.
So [SOUND] there we go.
So now we get that, those accents on the
some nice rhythmic percussive stuff that
we're getting from the muted low E string.
[SOUND] We're gonna really slow that down
so you can check out what's happening.
Now I'm sort of exaggerating the motion,
I'm going to tighten it up and mute a
Again so slow it down.
So one, two three four.
Now I hope that really focused your ears
in on what I'm doing.
We're getting those little nice
little chunky muted things in between the
now let's see how fast we have to do this
to make it work.
One, two, three, four.
The cool thing about this is at very first
listen, you might think it's just a chord
and a note, just.
But the thing that really makes it drive,
and that makes it feel good musically is
those little chickas in between, and that,
technically is, is a little bit of a
So that's what we want to focus on.
that part is just, it's all with in.
That rhythmic grid of the strum.
So all that strumming technique that we
did, is really gonna pay off here.
Cause in general,
we are just going, up, down and up.
And where ever the accents fall,
is all with-in that motion of the strum.
So, our chord is a down stroke, and our G
note is an up stroke.
So down, up, down, up, down, down, up,
down, up, down.
With those chickas in the middle, and the
chickas again just fall within
what's happening with that non stop river
of rhythm that's going on.
With your with your strum motion.
And we focus it in.
All right, we've got the parts.
Let's crank it up and have a good time
with this one.
One, two, three, four!