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Rock Guitar Lessons: String Skipping 2

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[MUSIC]
All right so,
again, I want to work with the notes per
string.
How many notes are there on each string to
give me new patterns?
The one we just did on the last example
was two notes on a string.
[SOUND] And one note.
[SOUND] And up and down.
[SOUND].
Now the next one I just wanna add a note.
I wanna do two and two, so
we'll use two notes out of the E minor
scale and two notes there.
This is actually turning into an E minor
triad arpeggio,
that's a nice E minor triad sound.
All right, so I'm playing it fast already,
but I wanna slow it down and
show you the parts.
Let's look at the left hand, again I'm
stretting with the third finger
on the high E string and then using my
pinky, for that note on the G string.
[MUSIC]
Now
this one I'm gonna use some hammer-ons and
pull-offs.
And picking, in combination to make it
work, and
this is gonna be exactly the same as the
lick we did before.
With, there was one where we did two and
two with a pentatonic scale.
[MUSIC]
You can hear how the rhythm is the same.
[MUSIC]
Same rhythm.
[MUSIC]
And
it's actually the same picking technique,
so we've already done this.
We've already practiced it, it's ready to
go.
All we have to do is expand the motions
slightly to cross over to get to a string
that's a little farther away and it's not
difficult and
the reason it's not difficult.
[MUSIC]
Is because you have nice pull-offs.
[MUSIC]
In between to give your,
it sort of gives you time to get over that
string.
All right, so let's check this out.
[MUSIC]
[SOUND] All right, I've got it.
It starts with two down strokes, with pull
off in the middle.
[SOUND] We're familiar with that.
Done a lot of that and then we do [SOUND]
an immediate upstroke.
[SOUND] On that G note.
And we'll follow that with a hammer-on.
[SOUND] And then one more up stroke here.
[SOUND] So both these notes with your
first finger.
[SOUND] Those are both up strokes with
this note [SOUND] in the middle.
That might be something good to practice
on its own.
We can just go.
[MUSIC]
But
I'm gonna do it with a space in between.
I'm gonna go like.
[MUSIC]
Two, three, four.
[MUSIC]
Two, three.
Both up-strokes.
[MUSIC]
With a pull,
with a hammer under the middle.
[MUSIC]
Here we go.
[MUSIC]
And
this is the point where it's really good
to listen and
make sure that none of those other strings
that we're not playing are ringing out.
So maybe turn up the distortion a little
bit and
see if we can control those other notes.
Two, three, four.
[MUSIC]
Three, four.
[MUSIC]
Three four.
[MUSIC]
So
I'm using muting with this part of my hand
and with the tips of my fingers, for
example when I play this,
[MUSIC]
note my finger's touching real lightly.
[MUSIC]
That string so it doesn't,
[MUSIC]
ring out.
Mutes it out a bit, let's try that again.
Three, four.
[MUSIC]
Really listen.
[SOUND] Make sure those notes are clean.
[SOUND] Nice and strong with the
hammer-on.
[SOUND] All right.
[SOUND] All up strokes.
[SOUND] With a hammer in the middle.
[SOUND] All right, so that really has
tuned our technique and
our ear onto that lick.
So let's put it in context.
[MUSIC]
There it is.
[MUSIC]
All right.
So we got a good triplet lick here.
These are triplets, one two three, one two
three, one two three, one two three.
[MUSIC]
And we're gonna be going down,
down, up, up, down, down, up, up, down,
down, up, up, down, down, up, up.
[MUSIC]
Now as usual,
I like to practice these with stops.
I think that stopping is so important and
really checking to see if
you're locked into the groove and that's
incredibly important.
That's the difference between to me, just
sounding great and
sounding what's going on here?
So, here we go.
Well we're going to lock it into the
groove and we're going to stop at the end.
One, two, three, four.
[MUSIC]
That's pretty quick.
I'm going to slow it down a little bit,
and we'll work our way up to there.
One, two, three, four.
[MUSIC]
That way I can really listen to the notes.
[MUSIC]
I can adjust my technique.
[MUSIC]
To make sure that every note is strong.
[MUSIC]
The pick notes and,
[MUSIC]
the hammer-ons and
pull-offs that are in there.
[MUSIC]
My stop note is right on the beat.
[MUSIC]
I can hit it with the foot.
[MUSIC]
I know right where it is I'm in control.
[MUSIC]
All right,
let's check out our speed potential with
this.
Let's see how fast we can get it.
I think it's gonna go pretty quick, we'll
try let's see.
One, two, three, four.
[MUSIC]
Now
the interesting thing that's happened with
my own playing is from playing it slow,
it's done exactly what I wanted it to.
It really made my ears open up to the
details of this lick.
And as I play it fast,
it makes me more aware of what I have to
do to make it sound good.
If I start to lighten up on the pull-off,
[MUSIC]
on that one,
I can hear those notes getting a little
quieter.
And I know I've got to hit it a little
harder with my left hand.
I've got to pull off a little more to get
that note strong.
So practicing slow is not only good just
to get the initial technique going, but
it really trains your ears to listen for
the details of the lick.
So when we play it fast.
[MUSIC]
The slow playing helps so
much in developing your ears to be able to
really pick out the details of that lick.
So it's really valuable to play it slow
and listen hard, and
adjust your technique so when you speed it
up it's gonna sound nice an clean and
confident, and indestructible.
So again, this is using two and two,
[SOUND] notes per string, [SOUND] going
down and up.
[SOUND] Using your hammer-ons and
pull-offs,
a very specific system of picking with.
[SOUND] Down, down, up, up, down, down,
up, up, making sort of a shuffle.
[SOUND] Listening hard to make sure those
hammer-ons and pull-offs are strong.
[MUSIC]
Getting beautiful E minor triad notes and
we have ourselves pretty cooking lick.
[MUSIC]
All right, you got it.
[MUSIC]
[MUSIC]
[MUSIC]
[MUSIC]