![]() Now that we have the first two bars down, let’s play them along with new material in bar 3, shown in FIGURE 6, wherein natural harmonics (N.H.) are added while sustaining a Gadd2 chord.įinally, FIGURE 7 brings in the closing chord and melodic pattern. ![]() FIGURE 5 shows the full bar of 5/4, as I performed it on the recording. FIGURE 4 illustrates the subsequent Cadd2 chord, also raked from low to high, and the pattern played across the next four beats. In FIGURE 2, the phrase is extended through beats three and four, via more fret-hand taps, hammer-ons, pull-offs and finger slides, along with another single pick-hand tap.įIGURE 3 brings a raked Dsus4 chord into the mix, on beat five. ![]() Play this sequence repeatedly until it feels and sounds smooth, even and in time. ![]() I then bring my pick hand into play, tapping my index and middle fingers onto the fifth fret of the fourth and second strings, consecutively, followed by a double pull-off to the open fourth string, as well as a pull-off to the open first string. FIGURE 1 illustrates the initial tapped pattern, which is initiated with a slap on the open sixth string, followed by fret-hand taps on the fourth string’s third fret and the first string’s second fret, consecutively.
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