In bar 5, I shift from two-note octaves to a root-major third voicing on the bottom two strings, and the five-bar riff culminates with two beats of single notes.Īt this point, the first two bars repeat, and bar 8 begins like bar 3, but I add a twist starting on the upbeat of beat two through beat three. The aforementioned two-note octave shapes, played on the bottom two strings, follow at the beginning of bar 2 on the upbeat of beat three, I begin a long single-note riff that includes several ringing open strings. In bar 1, on beat one, I attain a power-chord vibe by playing the notes of a B5 power chord individually, followed by rhythmic accentuation of the open sixth string. FIGURE 1 illustrates the song’s opening phrase, which is constructed from a variety of techniques that are at the heart of many of our songs-lots of pull-offs, hammer-ons, open strings and position shifts and a high degree of fretboard mobility.
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