How To Program The Subconscious Mind For Effortless Guitar Playing

In order to begin programming the subconscious mind for effortlessly accurate guitar playing, we first need to understand the difference between natural and unnatural body positions, and how the conscious and subconscious minds interact to allow the body to perform tasks.

Conscious And Subconscious Actions


When performing simple everyday tasks such as using a telephone, the conscious and subconscious minds work together to carry out these operations with the minimum of effort. When dialing a number with which we're very familiar, we don't need to give it too much thought. That is, we don't use our conscious minds as much as we would if the number were unfamiliar. Using our conscious mind, we think of the person and our subconscious associates the fact that we have a phone in our hand and a person in our mind and it tells our muscles to perform the same function it has performed on countless other occasions. If we're dialing an unfamiliar number, we need to use our conscious minds much more. We have to pay close attention to each individual digit. If we make a mistake we have to go back and correct it. We tend to be more careful the next time to avoid wasting time and money connecting with the wrong person. After many repetitions, the number becomes familiar, the subconscious takes over and we can dial rapidly without making any mistakes.

So why does this process work less effectively when we replace the dialing of a phone number with the playing of a musical scale? Why is there so much more stress, fatigue and frustration involved in the learning process? It might simply be that we have abandoned the natural method of learning because we are in too much of a hurry to play in time and up to speed. These timing and tempo issues don't exist for other relatively complicated tasks which we perform effortlessly.

Moreover, tasks such as typing a letter or washing some dishes have a tangible end product. If the letter contains mistakes we immediately go back and correct them. If we break a dish we stop what we are doing and sweep it up. We try to be more careful in future to avoid wasting time, money and effort by making the same mistakes over and over again. This is the natural learning process. If, on the other hand we play a scale on a guitar, after we're finished it exists only in the memory, so mistakes often go uncorrected. If the notes of the scale were dishes, would we be up to our ankles in broken crockery?

When we are practicing guitar, we need to remember that the subconscious absorbs everything we do whether it's accurate or not. If we play a G major scale seven times, six of which contain mistakes and only one is accurate, we can't expect the subconscious to only store the good information. So next time we place our finger on the 3rd fret of the sixth string and think of a G major scale, our subconscious has seven different experiences from which to choose, and a high percentage of these were flawed. As a result, we repeat a lot of the same mistakes and our progress is slow and tortuous.

If we want our subconscious to make solid decisions rather than rough estimates, we need to give it clear associations on which to draw. Estimations lead to more mistakes and we find ourselves trapped in a vicious circle.

Obviously we can't remove mistakes from the learning process but we can make sure that the ratio of good information to bad is beneficial and not detrimental to our progress. We do this by not letting mistakes go unaddressed. If we make a mistake midway through a scale, arpeggio, chord progression etc, we don't continue to the end and hope that next time we'll do better. We stop and address it immediately by compensating for the fact that some bad information has been sent to our subconscious. We do this by overwriting it with several careful repetitions of good, accurate information.

For example, if we're six notes into a G major scale and we play an Eb instead of an E, or we don't sound the note clearly, or just play the note with a tone color with which we're unhappy. We stop, relax, reset ourselves a couple of notes before the E and play through the scale, stopping two or three notes after the E. We play this isolated part of the scale several times carefully to overwrite the mistake. After each repetition, stop, relax and reset yourself. Do not play the section as a continuous loop. The first note of the isolated section shouldn't be played immediately after the last because that's not what happens when you play the whole scale. So don't practice it that way. Also, the second or so of rest between each repetition gives the mind a chance to absorb and assess the information, and prevents the subconscious from entering the short term automation mode.

Short And Long Term Automation

If we play a phrase over and over again the movement can become automated as long as we remain in the same position. However, if we change position and then return to the phrase, we can make mistakes again as if we hadn’t practiced it at all. This is because the maneuver was only automated temporarily. In order to make this a long term automation, we need to remove the hand from the position, relax, reset ourselves and replay. Continue in this manner until the phrase can be played cleanly and instantly.

At this stage, tempo and timing aren't as important as careful placement of the fingers. A well programmed subconscious will reward the user with swift effortless movement. This approach applies to all areas of guitar practice, whether it be scale, arpeggio, chord or left and right hand issues. Always follow a mistake with several slow, careful, accurate

repetitions. If a problem persists then a alternative way to approach it is to slow down for the specific section with which you are having trouble. Play the part at a speed with which you're comfortable. As you approach the problem area, slow down and play the troublesome section carefully, giving priority to correct finger placement. After you are past the section then speed up again to complete the part. This approach is much more effective than blundering through the problem area at speed and making lots of mistakes.

As was mentioned earlier, the subconscious mind works by association. It directs movement based on information received through the senses in conjunction with instruction from the conscious mind. This means that the conscious mind has to be free of any non-essential thoughts. All unnecessary mental chatter should be eliminated while practicing guitar. Try to stop your inner voice from commenting on your playing. Thoughts such as, "I played this much better yesterday", or "that bit sounded really great", should be silenced as they have no constructive purpose and simply serve to confuse the subconscious.

We tend to make more mistakes while our minds are wandering. Holding a phone and thinking, "I must get the car washed" isn't an association that your subconscious is familiar with. And so it dials a wrong number.

If, for example, we want to successfully program our subconscious to play bar chords, (or any other chord for that matter), cleanly and crisply, we need to give it a clear signal from the conscious mind and an accurate execution of the desired chord. That is, we need to clearly visualize the chord in our mind's eye while carefully fingering the chord. Don't play the chord until your certain your fingers a well placed. Then play the chord with a clean chop. This is done by depressing all the fingers simultaneously while making a swift stroke with the right hand. The fingers should all be release at the same time. There’s no need to pull the fingers away from the strings. Simply leave the fingers in place and relax the hand, allowing the tension to instantly dissolve. This should cause the chord to end abruptly and cleanly, provided the left hand was playing all six strings. If there were open strings then you will need to use the side of the palm of the right hand to silence the ringing strings. This should be done in sync with the relaxing of the left hand. The product should be a nice crisply chopped chord.

Don’t leave the fingers in place and play the chord again as this serves little purpose, other than to exercise the muscles. It's better to let the hand fall loosely by your side for a second, allowing any tension to drain out of the arm, before reshaping the chord anew and performing another brisk chop. Continue in this way until you can make the chord cleanly and instantly. A slightly easier way to approach it, is to switch between two different chords, though this method won’t serve you as well when you need to quickly grab chords, e.g., when inserting chords into melodic passages. Make sure that the only thing that enters your mind is a visualization of the chord and the only thing your fingers do is a clean execution of the chord.

Never practice guitar in an absent-minded way with one eye on the TV and your thoughts elsewhere. Absently typing random nonsense on a keyboard while holding a conversation with friends wouldn’t improve your typing ability, so don't approach your guitar playing in this haphazard manner. Practice in a calm and quietly focused way to allow your subconscious to make clear associations and to store good quality, uncluttered information.

Never waste time and energy beating yourself up about mistakes or poor performance. Just deal with the elements you wish to improve one at a time in a cool and collected way. If something involves several different disciplines, e.g., alternate picking, string skipping and chord arpeggios, and you're struggling to master it, separate the elements and work on them individually. Allow your mind to focus on one thing at a time. People who can juggle while riding a unicycle learned the two things separately before they tried to combine them.

Natural And Unnatural Body Positions


In addition to a clear conscious mind, we also need to play in as relaxed a way as possible. This means avoiding unnatural positions. These are also known as stress positions. These unnatural stress positions quickly lead to physical and mental fatigue. The mind gives high priority to feelings of pain, discomfort and exhaustion, leaving little room for other thoughts. Therefore unnatural positions should be kept to a bare minimum.

Unnatural positions are inherently weak, whereas natural positions are inherently strong.

To avoid inadvertently adopting stress positions we need to learn to recognize them. For a very simple demonstration of the difference between natural and unnatural positions, do the following:

Stand up straight with your legs slightly apart. Let your arms hang loosely by your sides. Keep your back straight and your head centered. Feel how easy it is to maintain this position. You are using lots of muscles to hold this stance but because it's a natural position, you’ll have no trouble maintaining it for long periods without fatigue. Notice that your mind isn't being overwhelmed with thoughts of discomfort. You can keep a clear head in this position. You could work on a problem without being constantly interrupted by complaints from your body.

To turn this into an unnatural position, simply bend your knees till you feel a strain on your thighs. Hunch your shoulders up to your ears and clench your fists. You can imagine that it would be much more difficult to maintain this unnatural position for long periods of time. It would be hard to concentrate your mind on a complex problem while holding this stress position.

Before we talk about natural hand positions let's think about how playing guitar may affect the rest of the body. Next time you pick up your guitar and begin to play, devote a portion of your attention to your body. Try to identify areas of unnecessary tension. Are you slouching over your guitar? It requires more effort to slouch than it does to sit or stand up straight. This extra effort will take it's toll and you will tire more quickly. Are you unnecessarily tensing your arms or shoulders? If you're sitting down, are you holding one or both of your legs in a position that requires unnecessary effort. All of these things will make your practice sessions much more taxing. Try to position your body in a way that requires the least effort to maintain. Relax any muscles that aren't directly involved in the holding down of strings or the motion of the right hand.

Naturally Strong Hand Position

If we think of all the ordinary activities we perform daily that involve the use of our hands, we notice a common factor; a straight wrist.

Pick up something with a handle such as your guitar case or amplifier. Explore the difference between holding the object by your side with a straight wrist, and at arm's length with the wrist bent. Not only are your arm muscles having to work much harder to hold the object in this unnatural way but your grip is seriously weakened by the bending of the wrist joint. Now raise your left forearm with the inner wrist facing upwards as if you were about to play the guitar. Tightly clench your fist. Now bend the wrist as far as it can go and feel the tightening of the tendons as they are forced around the corner made by the bent wrist joint. It's this strain on the tendons that causes the weakening of the fingers. Now return the wrist to the straight position and relax the hand, allowing the fist to naturally unclench. Notice that the fingers don't straighten out but remain curled. This natural grip position is the default setting for the hand. It has inherent strength and requires no effort to maintain. Staying in this default position, wiggle the fingers. Notice how easily they move. Now bend the wrist again and notice how the pinching of the tendons restricts the movement of the fingers, causing them to stiffen.

Play Relaxed


If we wish to play guitar then we are going to have to deviate from the natural default position. However, in order to remain as relaxed as possible while we play, we will need to keep the amount of deviation to a minimum.

Set your hand in the default position and place the hand beneath the neck of your guitar. The first thing you will need to do is swivel the thumb around to the back of the neck. Do this without moving the wrist and fingers. Now bring the fingers up to rest on the 1st string with the first finger positioned above the 5th fret. Now space the other three fingers so that they line up with the 6th, 7th and 8th frets. Try to retain as much of the natural curl as possible. Notice that there is a bend at the tip joint (the one closest to the fingernail). It's important to keep this joint as close to the natural bend as possible to maintain maximum strength with minimum effort.

It shouldn't have required too much effort to place our hand in this 'home' position. So let's see how much more effort is needed to play a note. Raise your second, third and fourth fingers slightly so that only the 1st finger is resting lightly on the 1st string above the 5th fret. Strike the 1st string with a pick or finger to get a muted sound. Let's call this minimum tension. Now, making sure the first finger is the only thing that moves, press the string as hard as you can and hold it. Play the note. Let's call this maximum tension. To switch back to minimum tension again, simply relax the finger and allow the tension to instantly dissolve. Now gently apply pressure with the first finger until you can play the note with the minimum amount of necessary tension. Let's call this the 'on' position. Now let the tension instantly dissolve again, to switch immediately to the minimum tension 'off' position. Using this 'on-off' method, play the notes at the 5th, 6th, 7th and 8th frets with the first, second, third and fourth fingers respectively. Be sure to switch the previous finger to the off position before switching on the next finger. It's this on-off technique that will allow you to play through a scale in an almost effortless manner as the fingers will be spending a lot of time in the off position.

The importance of the off position shouldn’t be underestimated. It is essential for clear definition and relaxed, fluent movement. Switching off and pulling off are very different things. Switching the finger on to play a note requires action. Pulling the finger off or away from the string after the note has been played requires further action. Whereas switching the finger off after the note has been played requires no action. It is merely a cessation of the first action of switching on. Pulling off instead of switching off is the cause of a lot of unwanted string noise as the finger is removed before the string has stopped vibrating. After switching off, the finger remains in place, resting effortlessly on the string as it returns to it's normal state. This dampens the vibration immediately.

Stop And Relax

Even while using the on-off method, you will probably still experience a build-up of tension in the hand and arm when practicing. This tension can accumulate very rapidly, and can seriously restrict movement if we don’t learn how to relieve it.

As soon as you experience a build-up of tension, which manifests itself in the form of stiffness and dull aches, you should immediately stop what you are doing and let your arm hang loosely by your side until you feel the tension drain away. Try to retain as much of this relaxed feeling as possible when you resume practicing. You should keep doing this until you learn how to relax while playing; even if this means stopping every 30 seconds or so. This is especially important when warming up. Eventually you will learn to thoroughly relax while playing guitar. This is how professional musicians manage to play for hours without tiring. It’s also the reason why they make it look so easy!

Subconsciously Tensing-up


Another type of tension occurs when we subconsciously tense the muscles just before we tackle a tricky section of music, e.g., a large position shift or an arpeggio with which we’re particularly uncomfortable. This is the musical equivalent of flinching just before something painful is about to happen. We feel that if we approach these awkward parts in a nonchalant way then we’re sure to mess up because we know how difficult they can be and so we subconsciously bunch up our muscles in readiness for the challenge. The irony is that the complete opposite is true; if we remained relaxed for these difficulties, we’d stand a much greater chance of nailing them.

Imagine someone drew two chalk lines five feet apart and asked you to jump over the distance. No problem right? Now imagine this same five foot gap was between two skyscrapers. Would you approach it in the same way, and which do you think you would most likely mess up?

“…play it as if it means nothing when it means everything… …allow yourself to fail…”

Hit The Nail On The Head; Finding The Point Of Balance

When playing both chords and melodic phrases, it’s essential that you plant your fingers squarely and centrally on the string(s).

Take a look at this simple pentatonic E minor scale.

E|--------------------0-3-0---------------------|
B|----------------0-3-------3-0-----------------|
G|------------0-2---------------2-0-------------|
D|--------0-2-----------------------2-0---------|
A|----0-2-------------------------------2-0-----|
E|0-3---------------------------------------3-0-|

After warming up a bit, start by playing the first two notes. Pay close attention to the 3rd finger as it plays the G at the 3rd fret. Is there sufficient bend in the tip joint for the finger to hit the string squarely. Imagine the tip segment of your finger is a hammer head and the string is the nail. If you strike the nail at an angle it will be pushed to one side. You need to meet the string as squarely as possible to get the best tone and intonation. The next thing to observe is whether or not you’re making central, well-balanced contact with the string from the moment you begin to depress it, and not making subtle adjustments after placing the finger. Play the two notes repeatedly. Does your finger hit the string sweetly every time or does it sometimes veer off to one side or the other and make a poor contact causing buzzing or a thinning of the tone quality? If the string were a tightrope would your finger be balanced in the centre as you play or would it fall to one side? Now you know how it feels to play the note cleanly, play through the whole scale observing whether or not your hitting notes square and centered or at an angle and inaccurately. Whenever you encounter a poor contact, stop, relax reset yourself and go over this portion several times carefully. You can take the scale two notes at a time, concentrating on neatness. Then extend it to four notes, and then six and so until the whole scale is neat.


You can try the “slowing down for the problem area” approach to get rid of any persistent trouble spots. The important thing is never to let the slightest inaccuracy go uncorrected. You can now apply this approach to all scales, arpeggios, chords etc.

Pay particular attention to the tip joint. Do not allow it to collapse (lose it's bend). The little finger is especially prone to collapse. Not only do we need a nice bend in order to hit the string squarely but it also has much greater strength, which is most important when holding down chords. You can demonstrate this by holding down a string with your little finger while maintaining a natural bend in the tip joint. Observe the amount of effort required, and the amount of stress placed on the finger and hand by the reactive force. Now, keeping the pressure even, allow the joint to collapse. Notice how much greater is the stress placed on the finger and hand. The reactive force seems to travel much further up the hand and even as far as the forearm.

Chromatic Exercise

Try playing through the following exercise, concentrating on correct, well-balanced finger placement using the on-off technique. An open string has been placed between each note of the chromatic scale. This ensures that you plant each finger independently rather than laying them all down in a rippling legato manner. Good legato is something to which all guitarists should aspire but first we need to master the on-off independent fingering technique if we’re to avoid our phrases sounding too mushy. Remember to avoid pulling off the finger after the fretted notes are played. Switch off before removing the finger to allow the open string to be played. This requires close attention to get right but is a vital skill.

E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|------------------------------------------------0-1-0-2-0-3-0-4-|
D|--------------------------------0-1-0-2-0-3-0-4-----------------|
A|----------------0-1-0-2-0-3-0-4---------------------------------|
E|0-1-0-2-0-3-0-4-------------------------------------------------|

E|----------------0-1-0-2-0-3-0-4-|
B|0-1-0-2-0-3-0-4-----------------|
G|--------------------------------|
D|--------------------------------|
A|--------------------------------|
E|--------------------------------|

Once you have got used to the on-off independent fingering technique you can remove the open string notes from whichever scale you happen to be playing and switch to playing the scale in the normal way using staccato to prevent any mushiness from creeping back in. Eventually you will need to use a smoother, more musical way of playing scales but only when you're really well balanced and relaxed, and you have fully mastered the on-off technique.


Fingerpicking

The default hand position as described above is also essential when finger picking. It is important to maintain the straight wrist and natural curling of the fingers in order to avoid fatigue, inaccuracy and thinning of the tone when striking the string. As with the left hand, it is vital not to allow the tip joint to collapse. The tip and middle joints must remain in the naturally curled position. The pivot must come from the knuckle joint and not the middle joint. We tend to do this naturally when picking at a sticky label on a CD cover, or when scratching an itch. But for some reason a lot of us abandon this natural method as soon as we pick up a guitar and pick at a string. Try this out by picking at a label on a bottle of beer or noticing what happens when you scratch at an itch. You should find that the finger(s) form a hook shape with a bend in all three joints. The tip and middle joint remain firmly fixed while the finger pivots at the knuckle joint. Apply this exact technique when finger picking a guitar. If in the past you have had trouble using the elbow as an anchor point while floating the right hand over the strings then you should find the natural position helpful.

Right Hand Tension


Anyone who has tried to play rapidly with a pick will know that with an increase in speed comes an unhelpful increase in tension in the right forearm. It seems impossible to play at speed while remaining relaxed. Fortunately it is possible; not only that but it’s absolutely essential.

Simply apply the Stop and Relax technique as described above. As soon as the tension begins to build, stop picking, relax your arm, reset yourself and resume. Do this every time the tension starts to mount. This will heighten your awareness of tension from the moment it first begins to happen, and eventually you’ll be able to relax without stopping. Finally you’ll reach a stage where the tension doesn’t happen at all as it’s completely unnecessary.

Grooves

A great way to make right hand picking practice more interesting is to create different grooves rather than just sticking to the - ONE two three four ONE two three four etc. I call this the Indian drum beat groove… Hi ya ya ya Hi ya ya ya. This has a four pulse repetition with a heavy accent on the first beat. Try creating an eight pulse groove by simply moving the second accent back one pulse; ONE two three FOUR one two three four ONE two three FOUR one two three four and so on. Different grooves will make a huge difference to the feel of phrases and will make monotonous picking practice much more enjoyable. Play around with accents and see what you can come up with.

The Difference Between Practice And Performance


If you apply these techniques you might feel that all the stopping and starting is destroying the flow of your playing. At this point it’s important to understand the difference between practice and performance. Practice isn’t a performance and performance isn’t practice. During a performance, the piece has to be played from start to finish and the imperfections just have to be lived with. In the practice room however, we don’t have to live with imperfections. That’s what practice is for!

Hopefully you haven’t lost the will to live while reading this article. I went into far more detail than I originally planned. But programming the subconscious for accuracy is all about meticulous attention to detail. I might also have stated the obvious on occasion but it’s impossible to know at what stage of development the reader might be, so I felt it best to cover as much as possible. I hope there is something in here for beginners and intermediates alike. Thanks.

author :chris flatley

Troubleshooting To Guitar Techniques

Hello metallers, grungers and wannabee slashes. I'm Sion Atkinson. Now you may be wondering 'if I haven't heard of you before how can I be certain that what you are teaching is top notch stuff. I would answer that by saying that I've practised these techniques and found that I've not got anywhere with them. Until, my teacher taught me how to do them properly. And so I'm writing this to prevent this happening to you. Over the next lessons, I'm going to provide lessons on how to sweep pick, hammer ons and pull offs (groan)and lots of other useful crap.

Hammer Ons And Pull Offs

I know. There are thousands of articles on this subject but many don't know how to execute them properly. When you hammer on and pull off, you want to make sure that the high notes and low notes sound equally loud. Therefore, you have to apply more force with your left hand fingers when they pull off or hammer on than you do when you use a pick to play the notes. If you're hammering on, make sure the string hits the fingerboard as this helps the string vibrate more.

Pull offs are a lot trickier, especially if you're using your 3rd and 4th fingers. When pulling off you want your pull off finger to move in a horizontal direction so you pull your finger off the string. Trust me, the amount of people (myself included) who just lift their finger off the string is enormous. And if you bend the string (which you shouldn't unless told to do so in the tablature), support the string with other fingers so it doesn't move. However if you're pulling off to an open string like so

e 5p0 7p0 8p0 7po
b 5p0 6p0 8p0
g
d
a
e

Try and control how much you pull off. You could pull off earlier instead of dragging the string with your finger by accident.


Another example would be

e 8p5p0h8p5p0h8p5p0h4h7p0h4h7p0
b

This shows how you can mix hammer ons and pull offs together. It shows how important it is to make them loud otherwise the notes will fade out (unless you're using loads of distortion.

Here's an example from one of my own solos

e 12
b 15p12 12 15p12 17p12 14
g 15 15p14p12
d 14
a
e

This includes a pull off from the 4th finger to the 3rd on the last phrase which is quite tricky. Be sure to practise before playing the whole lick.


Even Kurt Cobain used them and he wasn't one of the most proficient players around. Here's the main riff from 'Man who sold the world'

e
b
g 2 2 2 0 2p3p2p0

This would make a great excercise if you moved it by one fret each time until you reached the twelth fret.

Other Examples

You might want to listen and check tabs to the following songs 'Battery' by Metallica, Anything by Alterbridge They also use hammer ons from nowhere. 'Crush day' by Joe Satriani. 'Whiskey in a jar' by the one and only Thin Lizzy. Also check other lessons on the website for excercises. They really do help!

O.K. my work is done. Please post any comments if you'd like to tell me what technique I should write about next which you need help with.

author :tricksy16

Troubleshooting. Part 2

Hello to all guitar hungry people out there. Thanks for posting some comments, I'll keep making the naked tabs from now on. I've tried to include two mini lessons into one because
1. I forgot to include something in my last lesson.
2. I'm gonna cover something which appears in these lessons a lot.

Part 1. Hammer Ons From Nowhere

As I mentioned previously, Alterbridge uses a lot of legato (fancy word for hammer ons and pull offs)in their solos. After all, if you are hammering onto notes all the time, why don't you hammer onto strings to save you from getting your picking hand confused?


C major excercise
e
b
g
d LH7h9h10
a LH7h8h10
e LH8 (tap onto the fret 8 with your index finger)h10


The sign LH indicates to hammer on from nowhere with your left hand fingers, and you just have to apply the same rules as you do for normal hammer ons. For those who didn't check out the last lesson, you just tap the string with your fingertip until the string hit's the fingerboard. It will provide enough force to make the note vibrate and therefore you get the note. Just make sure you hammer on on the fret shown after the sign. In a way, it's kinda like a right hand tap (using your middle finger to tap a note which I'll show another time) except on the left hand.

Try this moving this excercise up and down the fingerboard, like so

e
b
g
d LH7h9h10p9
a LH8h9h11p9
e LH9h10h12p10p9

or how about this

e
b
g
d LH5h7h8p7p5
a LH5h6h8 LH8p6p5
e LH5h6h8 LH8p6p5

This will help all your fingers become strong and quick so that your hammer ons and pull offs will sound great. If you've checked other lessons on this site, apply this technique to other excercises on here. It's f--king tricky at first, but you can do it with patience.

Last but not least, make sure you put these ideas into practise and properly. If you don't, you risk practising bad habit's in the future. Tricky techniques like this require patience and repetition, so you should at least do this kind of stuff for 10 minutes every day. It's not long, compared to how much Steve Vai used to practise everyday, and with each day you will notice an improvement if they are done properly. For now, I also suggest you keep the distortion as little as possible until you can do this cleanly. Sorry to nag at you but I'm just trying to help.

All right that's it. Next lesson I'll help with right hand tapping. Keep shredding!

Hendrix Rythm Spice

Ok first. I'm actually 13 so I'm pretty young and fiddle about with my guitar a lot and been watching a heck of a lot of hendrix vids to realise what he does, lets start.

If you look at the way hendrix plays his chords, there not barre chords but he does play them up the frets, what he does is uses less fingers to cover a chord and have the remaining fingers to "spice" up the rythm with little touches.

Normal A barre

e|--5--
B|--5--
G|--6--
D|--7--
A|--7--
E|--5--

But Hendrix tries to make the same chord but use less fingers the (number) shows the finger to use


A chord (Hendrix Style)

e|--5-(1)-
B|--5-(1)-
G|--6-(2)-
D|--7-(3)-
A|-------
E|-------

If done correctly, your pinky shall be free, woo! This allows you to improvise with your little pinky in many ways and all that.

For example (ok not really a good one but still)

e|--8p5-5-----5-5---5-
B|--5---8/7p5-5-5---5-
G|--6---6-----6-6h7-6-
D|--7---7-----7-7---7-
A|--------------------
E|--------------------

Of course that's pretty cool and simple, I'm pretty mince at it myself but I'm sure all you good players will have no problem jamming and inprovising with this shape (can obviously be moved around just like a barre chord). If your wondering, a minor just takes your 3rd finger away making it 5,5,5,7 (if you get what i mean). After looking at that, you could be wondering how to do a A shaped barre. Or perhaps looking at the first you may have figured the first but here it is anyways.


D barre chord

E|----
B|--7-(barre with just your first finger)
G|--7-
D|--7-
A|----
E|----

Now of course the barre with the first finger doesn't mean you are limited to only 7 and above. You can use the notes on the 5th fret, you can use that to build this jazzy/blues kind of technique... it's hard to explain, look here.

e|------------------
B|------7-----7h8-7-
G|------7-----7---7-
D|------7-----7h9-7-
A|--5-5---7/9-------
E|------------------

You may notice a shape from "wind cries mary" and correct, that is the shape and its a brilliant technique I love to do often.

The minor for this may "seem" obvious now I've explained the aboves but in fact what I do to play the minor is do this.

(D minor hendrix style)
e|-----
B|--10-
G|--10-
D|--12-
A|-----
E|-----

I've moved it up 3 frets and added my 3rd finger on the D string 2 frets up.


I've pretty much coverd what I wanted to share so I hope some of this stuff was somewhat useful and I hope to get feedback.


author :author: neo14085

Tapping Scales And Arpeggios

In this lesson we will cover:

01. Tapping on all strings and uting unwanted fret noise
02. Playing and constructing arpeggios
03. Tapping scales
04. Using these techinques to make a lick

Hopefully after this you should have good knowledge of tapping scales and arpeggios, how to make them and use them musically.

Tapping On All Strings And Uting Unwanted Fret Noise


Ok we all know to to tap, on pretty much any string, it can be a fairly simple process, but if your tapping on say the A string and then quickly skip to a tapping lick on the B string and back and forth, this can produce unwanted string noise and/or make the notes not sound clearly.

Lets take this lick first:

#tapped notes are in brackets()

E|-----------------------7h(12)p10p7------------------------------
B|----------------------------------------------------------------
G|-------------7h(12)p9p7-------------7h(12)p9p7------------------
D|----------------------------------------------------------------
A|--7h(14)p10p7---------------------------------7h(14)p10p7-------
E|----------------------------------------------------------------

In this lick, instead of normal tapping where you fret the notes then tap and pull off the rest, we are going to hold the first note, so for this lick the 7th fret which we are going to hammer-on from nowhere, to do this simply press down the fret quickly and then tap the bracketed 14th fret, then hammer-on the next note, the 10th fret and pull off to the 7 again, so like this:

Hold 7th, tap 14th, hammer-on 10 from the 7 and then pull off back to 9th fret.

It sounds confusing but this is the style were going to use as holding down all the frets and pulling them all off will be quite hard to do quickly and efficeintly.

If you try and play this lick you mite notice a few things:

1. The notes aren't all sounded clearly

2. A lot of fret buzz and unwanted noise

3. The notes on the lower strings don't sound clearly

To solve this follow these steps:

1. Make sure each tap is emphasised, especailly on the A string, tap quickly and strongly and make sure you pull off when you tap with your finger.

2. There are 2 main ways to mute the strings, these are the KEY techniques to playing these arpeggios correctly:

Fretting Hand Technique:

This is usefull in all aspects of playing but especailly in tapping, you want to try to place your index finger when playing notes slightly above the fret, so the tip is just making contact with the string above. This means that the string above is now clearly muted without wou worrying about it. As for the string below, with the index finger moved up slightly try and angle your finger so the under bit of your finger is resting on the string, this now mutes the string below. Practice this and eventually you will notice that you wont get much unwanted noise from over strings.

Right Hand Technique:

Allthough you may think the right hand just taps and leaves the fretboard until the next tap, you might want to consider keeping your hand resting near the bridge. Why? This then allows you to mute the strings slightly, don't put too much pressure, just have your hand rite above the strings ready to mute, focus on muting when you jump to a new string. Another good technique I use it to slightly angle my hand, have it so my wrist is aiming downwards slightly when descending and aiming upwards when ascending, this then means your hand is followig your fretting hand and muting behind it was it goes, so every string you leave will be muted and the next string will be free of noise and ready for a clean tap.

With all this advice you should practice a few simple licks to perfect your technique, it doesnt't really matter what you tap, for now, as long as you get your tapping clean. Having quite a bit of gain and mids on your amp will help too. Here are a few simple tapping licks to practice, these aren't any paticular shape or arpeggio, just to help you practice. It doesnt't really matter what finger you use for hammering-on, but I do advise to use your pinky more, you get more reach and it will definnitly help you on the lower strings and with certain shapes.

E|----------------------------5h(12)p8p5--------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5----------------5h(12)p8p5--------------
D|----------------------------------------------------------------
A|--5h(12)p8p5--------------------------------------5h(12)p8p5----
E|----------------------------------------------------------------

E|-------------------------------12h(19)p15p12----------------------------
B|------------------------------------------------------------------------
G|-----------------12h(19)p15p12---------------12h(19)p15p12--------------
D|------------------------------------------------------------------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12-
E|------------------------------------------------------------------------

E|-------------------------4h(11)p7p4-----------------------------
B|----------------------------------------------------------------
G|--------------5h(12)p8p5------------5h(12)p8p5------------------
D|----------------------------------------------------------------
A|--6h(13)p9p6-----------------------------------6h(13)p9p6-------
E|----------------------------------------------------------------

# don't forget you don't have to play the A, G and E strings, mix it up, you can tap a note twice, tapping the A string and the E string twice can really make your lick stand out


Playing And Constructing Arpeggios

Now weve got the technique down lets learn how to construct and play tapped arpeggios. Well we all now an arpeggio is just the individual notes of a chord play seperatly, so lets take a A minor chord. This is made up of notes A C and E. So all we do is find these notes on each string and play them like so:

E|--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5--5h(12)p8p5------

On the E string the notes are 5 - A 8 - C 12 - E

So in basic forms this is an A minor arpeggio on the high E string. Now all we need to do is work out the notes on the other strings, like so:

E|--0--5--8--12--17--20--24---------------------------------------
B|--1--5--10--13--17--22------------------------------------------
G|--2--5--9--13--17--21-------------------------------------------
D|--2--7--10--13--19--22------------------------------------------
A|--0--3--7--12--15--19--24---------------------------------------
E|--0--5--8--12--17--20--24---------------------------------------

All these notes are A C or E, so any combination of these in a tapped lick would be a A minor arpeggio. So for example:

E|-----------------------5h(12)p8p5-------------------------------
B|----------------------------------------------------------------
G|-------------2h(9)p5p2------------2h(9)p5p2---------------------
D|----------------------------------------------------------------
A|--3h(12)p7p3--------------------------------3h(12)p7p3----------
E|----------------------------------------------------------------

E|----------------------------------------------------------------
B|--------------------------5h(13)p10p5---------------------------
G|----------------------------------------------------------------
D|-------------7h(13)p10p7--------------7h(13)p10p7---------------
A|----------------------------------------------------------------
E|--5h(12)p8p5--------------------------------------5h(12)p8p5----

E|-----------------------------------------------------------------------
B|------------------------------13h(22)p17p13----------------------------
G|-----------------------------------------------------------------------
D|----------------13h(22)p19p13---------------13h(22)p19p13--------------
A|--12h(19)p15p12-------------------------------------------12h(19)p15p12
E|-----------------------------------------------------------------------

Any mixture of these would be a successful A minor arpeggio. You don't have to just use 3 note chords, you can use anything, diminished, major 7th, suss or add chords. All you have to do is know the notes of the chord and find them on the fretboard. So for example a C major 7th has the notes B C E and G. Although we can put these all on one string, it's easier to divide them up accross the strings like so:

E|--0--3--7--8--12--15--19--20--24--------------------------------
B|--0--1--5--8--12--16--17--19--20--------------------------------
G|--0--4--5--9--12--16--17--21------------------------------------
D|--2--5--8--9--14--17--20--21------------------------------------
A|--2--3--7--10--14--15--19--22-----------------------------------
E|--0--3--7--8--12--15--19--20--24--------------------------------

As long as your lick has all of the notes alltogether it will sound right. So an example lick would be:

E|-----------------------------------3h(12)p7p3-------------------
B|----------------------------------------------------------------
G|------------------------4h(12)p7p4------------4h(12)p7p4--------
D|-------------2h(10)p5p2-----------------------------------------
A|----------------------------------------------------------------
E|--3h(12)p7p3----------------------------------------------------

E|----------------------------------------------------------------
B|-----------------------------------5h(12)p8p5-------------------
G|----------------------------------------------------------------
D|--2h(10)p5p2----------------------------------------------------
A|------------------------2h(7)p3p2-------------------------------
E|-------------3h(12)p7p3-----------------------------------------

And there you have a C major 7th tapped arpeggio!


Tapping Scales

Tapping scales is actually a lot easier than it sounds. A bit like the arpeggio, you use the notes of the scale to construct the tapping lick. Here we can see a simple A minor pentatonic tapped scale:

E|--------------------------------------------------------5h(12)p8p5--------
B|---------------------------------------------5h(13)p8p5-------------------
G|----------------------------------5h(12)p7p5------------------------------
D|-----------------------5h(12)p7p5-----------------------------------------
A|------------5h(12)p8p5----------------------------------------------------
E|--5(12)p8p5---------------------------------------------------------------

As you can see we have the simple pentatonic box shape, and the tapped notes are all part of the scale too so it fits. If we wanted to make a C major scale tapping lick, it should be easy, as we know the C major scale has the notes A, B, C, D, E, F, G, we simply use these in this lick, making sure all the notes consist of any combination of these, as long as your lick, no matter how long or short contains all of these notes at least once, it will make a legit scale tapping lick. So heres an example of a C major scale tapping excersise:

E|------------------------------------------------------------9h(15)p12p9---
B|------------------------------------------------9h(15)p12p9---------------
G|------------------------------------7h(14)p10p7---------------------------
D|------------------------7h(14)p10p7---------------------------------------
A|-------------5h(12)p8p5---------------------------------------------------
E|--5h(12)p8p5--------------------------------------------------------------

I could of used notes anywhere as long as the contained all the notes from the scale, you can split this up, descend and ascend and move the shapes an octave along.


Using These Techinques To Make A Lick

Now weve understood these techniques heres a brief description on how to use them musically. it's actually really simple, think of any chord progression you like, now turn it into tapped arpeggios. So we can have anything from a E, D, C progression to a Am, C, G, Em progression, it will work well. For example heres a G major 7th, C major, A minor progression:


G major 7th

E|------------------------------10h(15)p14p10------------------------------
B|-------------------------------------------------------------------------
G|----------------11h(16)p12p11---------------11h(16)p12p11----------------
D|-------------------------------------------------------------------------
A|--10h(17)p14p10-------------------------------------------10h(17)p14p10--
E|-------------------------------------------------------------------------

C major

E|-------------------------7h(12)p10p7----------------------------
B|----------------------------------------------------------------
G|--------------7h(12)p9p7-------------7h(12)p9p7-----------------
D|----------------------------------------------------------------
A|--7h(14)p10p7-----------------------------------7h(14)p10p7-----
E|----------------------------------------------------------------

A minor

E|------------------------5h(11)p8p5------------------------------
B|----------------------------------------------------------------
G|-------------6h(12)p9p6------------6h(12)p9p6-------------------
D|----------------------------------------------------------------
A|--5h(12)p9p5----------------------------------5h(12)p9p5--------
E|----------------------------------------------------------------


Hope this lesson helps you out.

author : Joe310707

Speed Playing

In this lesson were going to cover all aspects of playing fast guitar, including speed picked runs, legato phrases and economy picking phrases. Hopefully at the end of this lesson you should have some useful warm up excersises, tips on all picking aspects and lots of excersises to practise with.

This lesson will be split into 5 sections :

1. Warm up excersises
2. Alternative picking
3. Economy picking
4. Legato playing
5. Using these tips musically

Warm Up Excersises


These are a list of simple excersises that are useful for quickly warming up both your hands before playing these excersises. I use these almost everyday and they don't take long but they get your hands all warmed up, getting blood into your hands and getting the muscles pumped into your fingers so after a quick few excersises you feel like youve been playing for hours.

First were going to warm up, were going to give all your fingers are work out. The main focus of warming up fast though is to aim to get your index and pinky fingers warmed up as the rest of the hand will follow. Lets get started:

E|----------------------1h2p1------------------------------------------2h3-
B|------------------1h2-------2p1----------------------------------2h3-----
G|--------------1h2---------------2p1--------------------------2h3---------
D|----------1h2-----------------------2p1------------------2h3-------------
A|------1h2-------------------------------2p1----------2h3-----------------
E|--1h2---------------------------------------2p1--2h3---------------------

E|--3p2-----------------------------------------3h4p3-----------------------
B|------3p2---------------------------------3h4-------4p3-------------------
G|----------3p2-------------------------3h4---------------4p3---------------
D|--------------3p2-----------------3h4-----------------------4p3-----------
A|------------------3p2---------3h4-------------------------------4p3-------
E|----------------------3p2-3h4---------------------------------------4p3---

E|----------------------4h5p4-----------------------------------------5h6---
B|------------------4h5-------5p4---------------------------------5h6-------
G|--------------4h5---------------5p4-------------------------5h6-----------
D|----------4h5-----------------------5p4-----------------5h6---------------
A|------4h5-------------------------------5p4---------5h6-------------------
E|--4h5---------------------------------------5p4-5h6-----------------------

E|--6p5-----------------------------------------6h7p6-----------------------
B|------6p5---------------------------------6h7-------7p6-------------------
G|----------6p5-------------------------6h7---------------7p6---------------
D|--------------6p5-----------------6h7-----------------------7p6-----------
A|------------------6p5---------6h7-------------------------------7p6-------
E|----------------------6p5-6h7---------------------------------------7p6---

This is an excersise which can be replayed with any 2 fingers. To also aide your picking hand you can alternate pick descending ( up, down, up) and sweep (up, up, up) ascending, or mix it up, but don't worry the main aim is to warm up your fretting hand fingers. With this excersise use:

1. Index and middle
2. Middle and ring
3. Ring and pinky

Next:

E|----------------------1h3p1-----------------------------------------2h4-
B|------------------1h3------3p1----------------------------------2h4-----
G|--------------1h3--------------3p1--------------------------2h4---------
D|----------1h3----------------------3p1------------------2h4-------------
A|------1h3------------------------------3p1----------2h4-----------------
E|--1h3--------------------------------------3p1--2h4---------------------

E|--4p2-----------------------------------------3h5p3-----------------------
B|------4p2---------------------------------3h5-------5p3-------------------
G|----------4p2-------------------------3h5---------------5p3---------------
D|--------------4p2-----------------3h5-----------------------5p3-----------
A|------------------4p2---------3h5-------------------------------5p3-------
E|----------------------4p2-3h5---------------------------------------5p3---

E|----------------------4h6p4-----------------------------------------5h7---
B|------------------4h6-------6p4---------------------------------5h7-------
G|--------------4h6---------------6p4-------------------------5h7-----------
D|----------4h6-----------------------6p4-----------------5h7---------------
A|------4h6-------------------------------6p4---------5h7-------------------
E|--4h6---------------------------------------6p4-5h7-----------------------

E|--7p5-----------------------------------------6h8p6-----------------------
B|------7p5---------------------------------6h8-------8p6-------------------
G|----------7p5-------------------------6h8---------------8p6---------------
D|--------------7p5-----------------6h8-----------------------8p6-----------
A|------------------7p5---------6h8-------------------------------8p6-------
E|----------------------7p5-6h8---------------------------------------8p6---

Ok this time use:


1. Index and ring fingers
2. Middle and pinky fingers

Next:

E|--------------------------------1h2h3p2p1---------------------------------
B|--------------------------1h2h3-----------3p2p1---------------------------
G|--------------------1h2h3-----------------------3p2p1---------------------
D|--------------1h2h3-----------------------------------3p2p1---------------
A|--------1h2h3-----------------------------------------------3p2p1---------
E|--1h2h3----------------------------------------------------------3p2p1----

E|--------------------------------2h3h4p3p2---------------------------------
B|--------------------------2h3h5-----------4p3p2---------------------------
G|--------------------2h3h4-----------------------4p3p2---------------------
D|--------------2h3h4-----------------------------------4p3p2---------------
A|--------2h3h4----------------------------------------------4p3p2----------
E|--2h3h4----------------------------------------------------------4p3p2----

E|--------------------------------3h4h5p4p3---------------------------------
B|--------------------------3h4h5-----------5p4p3---------------------------
G|--------------------3h4h5-----------------------5p4p3---------------------
D|--------------3h4h5-----------------------------------5p4p3---------------
A|--------2h4h5----------------------------------------------5p4p3----------
E|--3h4h5----------------------------------------------------------5p4p3----

E|--------------------------------4h5h6p5p4---------------------------------
B|--------------------------4h5h6-----------6p5p4---------------------------
G|--------------------4h5h6-----------------------6p5p4---------------------
D|--------------4h5h6-----------------------------------6p5p4---------------
A|--------4h5h6----------------------------------------------6p5p4----------
E|--4h5h6----------------------------------------------------------6p5p4----

E|--------------------------------5h6h7p6p5---------------------------------
B|--------------------------5h6h7-----------7p6p5---------------------------
G|--------------------5h6h7-----------------------7p6p5---------------------
D|--------------5h6h7-----------------------------------7p6p5---------------
A|--------5h6h7----------------------------------------------7p6p5----------
E|--5h6h7----------------------------------------------------------7p6p5----

This time use:

1. Index ,middle and ring fingers
2. Middle ,ring and pinky fingers

Next:

E|--------------------------------1h2h4p2p1---------------------------------
B|--------------------------1h2h4-----------4p2p1---------------------------
G|--------------------1h2h4-----------------------4p2p1---------------------
D|--------------1h2h4-----------------------------------4p2p1---------------
A|--------1h2h4----------------------------------------------4p2p1----------
E|--1h2h4----------------------------------------------------------4p2p1----

E|--------------------------------2h3h5p3p2---------------------------------
B|--------------------------2h3h5-----------5p3p2---------------------------
G|--------------------2h3h5-----------------------5p3p2---------------------
D|--------------2h3h5-----------------------------------5p3p2---------------
A|--------2h3h5----------------------------------------------5p3p2----------
E|--2h3h5----------------------------------------------------------5p3p2----

E|--------------------------------3h4h6p4p3---------------------------------
B|--------------------------3h4h6-----------6p4p3---------------------------
G|--------------------3h4h6-----------------------6p4p3---------------------
D|--------------3h4h6-----------------------------------6p4p3---------------
A|--------3h4h6----------------------------------------------6p4p3----------
E|--3h4h6----------------------------------------------------------6p4p3----

E|--------------------------------4h5h7p5p4---------------------------------
B|--------------------------4h5h7-----------7p5p4---------------------------
G|--------------------4h5h7-----------------------7p5p4---------------------
D|--------------4h5h7-----------------------------------7p5p4---------------
A|--------4h5h7----------------------------------------------7p5p4----------
E|--4h5h7----------------------------------------------------------7p5p4----

This one uses:


1. Index ,middle and pinky

Next:

E|--------------------------------1h3h4p3p1---------------------------------
B|--------------------------1h3h4-----------4p3p1---------------------------
G|--------------------1h3h4-----------------------4p3p1---------------------
D|--------------1h3h4-----------------------------------4p3p1---------------
A|--------1h3h4----------------------------------------------4p3p1----------
E|--1h3h4----------------------------------------------------------4p3p1----

E|--------------------------------2h4h5p4p2---------------------------------
B|--------------------------2h4h5-----------5p4p2---------------------------
G|--------------------2h4h5-----------------------5p4p2---------------------
D|--------------2h4h5-----------------------------------5p4p2---------------
A|--------2h4h5----------------------------------------------5p4p2----------
E|--2h4h5----------------------------------------------------------5p4p2----

E|--------------------------------3h5h6p5p3---------------------------------
B|--------------------------3h5h6-----------6p5p3---------------------------
G|--------------------3h5h6-----------------------6p5p3---------------------
D|--------------3h5h6-----------------------------------6p5p3---------------
A|--------3h5h6----------------------------------------------6p5p3----------
E|--3h5h6----------------------------------------------------------6p5p3----

E|--------------------------------4h6h7p6p4---------------------------------
B|--------------------------4h6h7-----------7p6p4---------------------------
G|--------------------4h6h7-----------------------7p6p4---------------------
D|--------------4h6h7-----------------------------------7p6p4---------------
A|--------4h6h7----------------------------------------------7p6p4----------
E|--4h6h7----------------------------------------------------------7p6p4----

This one uses:

1. Index ,ring and pinky fingers.

Last one now:

E|------------------------------------------1h2h3h4p3p2p1----------------
B|----------------------------------1h2h3h4---------------4p3p2p1--------
G|--------------------------1h2h3h4-------------------------------4p3p2p1
D|------------------1h2h3h4----------------------------------------------
A|----------1h2h3h4------------------------------------------------------
E|--1h2h3h4--------------------------------------------------------------

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|--4p3p2p1-------------------------------------------------2h3h4h5------
D|----------4p3p2p1---------------------------------2h3h4h5--------------
A|------------------4p3p2p1-----------------2h3h4h5----------------------
E|--------------------------4p3p2p1 2h3h4h5------------------------------

E|----------2h3h4h5p4p3p2------------------------------------------------
B|--2h3h4h5---------------5p4p3p2----------------------------------------
G|--------------------------------5p4p3p2--------------------------------
D|----------------------------------------5p4p3p2------------------------
A|------------------------------------------------5p4p3p2----------------
E|--------------------------------------------------------5p4p3p2-3h4h5h6

E|----------------------------------3h4h5h6p5p4p3------------------------
B|--------------------------3h4h5h6---------------6p5p4p3----------------
G|------------------3h4h5h6-------------------------------6p5p4p3--------
D|----------3h4h5h6-----------------------------------------------6p5p4p3
A|--3h4h5h6--------------------------------------------------------------
E|-----------------------------------------------------------------------

E|----------------------------------------------------------4h5h6h7------
B|--------------------------------------------------4h5h6h7--------------
G|------------------------------------------4h5h6h7----------------------
D|----------------------------------4h5h6h7------------------------------
A|--6p5p4p3-----------------4h5h5h7--------------------------------------
E|----------6p5p4p3-4h5h6h7----------------------------------------------

E|--7p6p5p4--------------------------------------------------------------
B|----------7p6p5p4------------------------------------------------------
G|------------------7p6p5p4----------------------------------------------
D|--------------------------7p6p5p4--------------------------------------
A|----------------------------------7p6p5p4------------------------------
E|------------------------------------------7p6p5p4----------------------

You can pretty much guess what fingers are required here. Now you should be very warmed up, as mentioned earlier some of these hammer-ons and pull offs are quite hard and instead just pick the notes if it's easier.


Alternative Picking

Alternative picking is probably the hardest, used by players like Michael Angelo and Buckethead, this picking style involves picking up and then down repeatly. Even if your changing strings you will have to have a constant up, down, up, down pattern. Alternative picking gives an aggressive, attacking sound when played. Below is a small excersise and we will discuss tips on getting your alternative picking accurate:

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-----------12-13-12----------------12-13-12----------------12-13-12----
A|--12-14-15----------15-14-12-14-15----------15-14-12-14-15-------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U

This is a simple repeat lick excersise, you can play this sort of thing almost anywhere to feel comfortable but we will use this one now for starters. Play this lick constantly using the up, down, up, down motion. So the main issue I'm sure you'l find here is the upstroke on the string change down and the downstroke on the string change up. Practise this likc super slow and build up speed then try these:

E|--8-7-------------------7-8-7-------------------7-8-7------------------
B|------8-7-----------7-8-------8-7-----------7-8-------8-7--------------
G|----------8-7-5-7-8---------------8-7-5-7-8---------------8-7-5--------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D U D U D U D U D

E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U D

E|-----------10----------------10----------------10----------------10----
B|--------11----11----------11----11----------11----11----------11-------
G|-----12----------12----12----------12----12----------12----12----------
D|--11----------------11----------------11----------------11-------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D U D U D U D U D U D U D U D U D U D U

That last one may seem tricky, as it's so tempting to sweep/economy pick it, but if you can pull it off it's very useful for training your picking hand. Remeber the key to this picking style is the ability to hit a new string below on an upstroke and a string above on a downstroke.


Economy Picking

Economy picking is a bit like alternative picking, up and down, but when you change string you pick in the direction of the change. So if you going to change to a string down you down stroke and a string up you upstroke. Try this example using economy picking:

E|---------------------------------------------------------------------
B|---------------------------------------------------------------------
G|---------------------------------------------------------------------
D|---------------------------------------------------------------------
A|----------9-12-10-9-10-12------------9-12-10-9-10-12------------9----
E|--9-10-12-----------------12-9-10-12-----------------12 9-10-12------
D U D D U D U D U U D U D D U D U D U U D U D D

Notice how your up and downpicking but on the string change you follow the direction of the strings, it's seems easier than alternative picking and gives are a more smooth, flowing sound, players like Yngwie Malmsteen use this technique a lot and it sounds great with legato playing. Try these out:

E|-----------12-14-15-17-15-14-12-------------12-14-15-17-15-14-12-------
B|--12-14-15----------------------15-12-14-15----------------------15----
G|-----------------------------------------------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D U D D U D U D U D U D U D D U S U S U D U

E|--------12-10-------------12-10-------------12-10-------------12-10----
B|-----13-------11-------13-------11-------13-------11-------13------11--
G|--14-------------12-14-------------12-14-------------12-14-----------12
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U U D D D U U U D D D U U U D D D U U U

E|--------12-15p12---------12-15p12----------12-15p12----------12-15p12--
B|-----13---------13----13----------13----13----------13----13-----------
G|--12---------------12----------------12----------------12--------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
D D D U U D D D U U D D D U U D D D U

Last one look familiar, it's a sweep picking shape. Economy picking is often refered to as sweep picking. So remeber, alternative pick on one string, pick with the direction of the string change when you change.


Legato Playing

Allthough technically not a picking style, it's is useful in playing fast. Some players don't prefer using legato and accuse it of "cheating". Legato is just as technical and useful in fast playing as any other of the techniques were using. Joe Satriani uses a lot of legato playing in his songs and they're incredibly fast. Legato is latin for "smoothly" and this technique does give an incredible smooth sound when played right. When hammer-ing on, make sure you hammer the string quickly and firmly, a lot of players only really use their middle or ring finger for this, but if you can train your pinky to do it you can reach whole new areas and create interesting licks. For pulling off, one of the main flaws players have is that when they pull off the accidently bend the string that they're pulling off to downwards, this makes the pull off sound out of tune. Make sure the finger your pulling off to holds the string firmly in place and your pulling finger to pluck strick forcefully to get a loud, full pull off.Try these licks out:

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-----------------------------------------------------------------------
D|-------9-7h9------9-7h9------9-7h9------9-7h9------9-7h9------9 7h9----
A|--10p7-------10p7-------10p7-------10p7-------10p7-------10p7----------
E|-----------------------------------------------------------------------

E|--12h13p12h13-------------------------------------12h13p12h13----------
B|--------------12h13p12h13-------------12h13p12h13----------------------
G|--------------------------10h13p10h13----------------------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|----------7p5--------------7p5-------------7p5-------------------------
B|-----------------------------------------------------------------------
G|------5h7-----7p5------5h7-----7p5-----7p5-----7p5---------------------
D|-----------------------------------------------------------------------
A|--5h7--------------5h7-------------5h7-------------5h7-----------------
E|-----------------------------------------------------------------------

For the first excersise a good technique is to barre the A and D strings with your first finger and then use your pinky and/or ring fingers to handle the hammer-ons and pull offs. As for the last excersise many players have difficulty changing to a lower string for a pull off, remeber to firmly place your first finger on the 5th fret and pluck the 7th fret downwards with your other finger to get an accurate pull off.


Using These Tips Musically

So we have warmed up, learnt pciknig styles and legato playing, now what? Well if you wanna play a fast lick, a lot of players simply use small licks like the excersises together, a combination of a few licks you've used can create a large, fast solo. As long as your playing is in key with the song you can make lots of speedy solo's using these small repeat excersises, like so:

E|--------------------12-14-15-14-12----------------------------------12-
B|-----------12-14-15----------------15-14-12----------------12-14-15----
G|--12-14-15----------------------------------15-14-12-14-15-------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|--14-15-14-12-------------------------------------14h15p14h15----17b(19)
B|--------------15-14-12-----------------12---------------------14-------
G|-----------------------15-14-12--12h14----15b(17)----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-----------17-15-14----------------------------------------------------
B|--17-15-14-------------------15-14-12----------------------------------
G|--------------------15-14-12-------------------14-12-10----------------
D|--------------------------------------14-12-10-----------------12-10-9-
A|--------------------------------------------------------12-10-9--------
E|-----------------------------------------------------------------------

E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------15p12-
G|-----------------------------------------------------------15p12-------
D|------------------------------------------------9-10-12-14-------------
A|----------------9-10-12-10-9------------9-10-12------------------------
E|--12-10-9-10-12--------------12-9-10-12--------------------------------

E|--15p12----------------------------------------------------------------
B|--------15b(17)--------------------------------------------------------
G|----------------9h12---------9h12---------9h12---------9h12---------9--
D|---------------------12-9h12------12-9h12------12-9h12------12-9h12----
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

E|-------9-12p9---------9-12p9---------9-12p9---------9-12p9-------------
B|----10--------10---10--------10---10--------10---10--------10b(12)-10--
G|--9--------------9--------------9--------------9-----------------------
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------

As you can see all I did was use small licks together to create a large solo, now make your own.

Menyeting Guitar





Berikut ini adalah beberapa sentuhan singkat dan sederhana untuk men'setup gitar anda, agar lebih optimal untuk dimainkan, dan menghasilkan tone yang maksimal pula.


Setting Truss Rod

Truss Rod adalah sebilah besi panjang yang ditanam didalam neck gitar, untuk mengatur agak neck gitar tetap pada keadaan lurus, tidak melengkung cembung, ataupun cekung (lihat gambar)


Apabila Neck Cekung, coba untuk lebih mengencangkan truss rod neck anda.

Begitu juga sebaliknya, apabila neck cembung, coba untuk lebih mengendurkan truss rod'nya.


 
Mensetting action senar, maksudnya mengatur jarak antara senar dengan permukaan kayu pada fretboard neck. Semakin rendah, akan semakin ringan untuk dimainkan. Tapi hati hati, terlalu rendah bisa menyebabkan fretbuzz!
Mengubah action senar berarti juga mengubah tinggi rendah bridge, karena tinggi rendah bridge juga mempengaruhi tinggi rendahnya senar. maka untuk men'set action ini, satu satunya cara adalah melalui bridge. Berikut ini adalah gambar di bagian bridge manakah yang harus diputar putar untuk mengatur tinggi rendahnya (lihat gambar)

Setting Intonasi
Bagaimana caranya mengetahui gitar anda sudah memiliki intonasi yang baik? cobalah dengans sebuah tuner. 
Bunyikan salah satu senar tanpa ditekan (misalkan senar satu yang bernada E), Lalu tekanlah di fret 12 dan bunyikan lagi. Apabila Nada'nya juga tepat E, maka intonasi gitar anda sudah OK!
Tetapi apabila lebih rendah sedikit dari E, maka majukan saddle bridge kearah pickup.
Dan apabila lebih tinggi sedikit dari E, maka mundurkan saddle bridge ke lawan arah pickup
lakukan juga terhadap semua senar, sampai semuanya memiliki intonasi yang baik.

Apa itu saddle bridge? saddle adalah tempat tumpuan senar di bridge.. (lihat gambar dibawah)

Tinggi Pickup
Ketinggian pickup juga harus diatur, jangan sampai terlalu dekat dengan senar, jangan juga terlalu jauh.
Terlalu jauh dari senar akan menyebabkan gain berkurang. Sedangkan semakin Dekat Pickup dengan senar, semakin hebat gain yang dihasilkan! Tetapi jangan terlalu dekat, bisa menyebabkan senar menyentuh magnet pole pieces dari pickup, dan mengeluarkan suara yang tidak diinginkan.
Ketinggian pickup dapat diatur hanya dengan memutar kedua skrup yang ada pada pinggir masing2 picku


ARPEGGIO - BASIC

Hello, teman-teman….uda pernah denger Yngwie Malmsteen donk dan jika anda mendengar musik Yngwie ataupun pernah menonton video lesson dari Yngwie..tentu anda pernah mendengar banyak tentang sweep arpeggio..sweep itu adalah salah satu teknik dalam dunia gitar.. tapi apa sih sebenarnya arpeggio itu? Saya sering melihat orang melakukan latihan arpeggio terus-menerus dari lick-lick yang mereka pelajari dari berbagai lagu tapi mereka sama sekali tidak tau bagaimana menggunakannya dalam improvisasi maupun saat membuat solo!!! Apa gunanya semua latihan itu jika anda tidak bisa menggunakannya bukan?
Artikel ini akan membahas lebih banyak tentang cara mempergunakan arpeggio tersebut yaitu teori daripada membicarakan teknik-tekniknya. Kita akan membahas teknik juga kok tenang aja..:)

Basic: triad
Arpeggio adalah memainkan setiap nada yang terdapat pada suatu chord secara tidak bersamaan. Untuk itu kita perlu membicarakan tentang chord tentunya, berarti kita akan membahas tentang triad..lalu apa sih triad itu? Triad adalah 3 nada yang membentuk chord. Triad itu bisa banyak macam lho....tapi minimal yang harus anda kenal ada 4 yaitu : major triad, minor triad, diminished triad, dan augmented triad. Ada satu lagi sih yang cukup sering digunakan yaitu sus2, sus4 tapi kita takkan membahas itu disini…


M: major P : perfect m: minor

Rumus Major triad : major third + minor third
Cth: C Major triad : C E G
major3rd minor 3rd


Perfect 5th

Jadi rumusnya bisa : I M3 P5

Rumus Minor triad : minor third + major third
Jadi rumusnya bisa : I m3 P5


diminished triad : Minor third + minor third
cth : C diminished : C D# F#
jadi rumusnya bisa : I m3 diminished 5th ( b5th )

Augmented triad : Major third + major third
Cth: C augmented : C E G#
Jadi rumusnya bisa : I M3 augmented 5th ( #5th )

Setelah anda mengetahui berbagai jenis triad ini maka kita lanjutkan dengan pengertian darimana asal triad itu berasal..well, tau ga kalo chord itu kaitannya erat dengan scale… dari scale bisa kita bentuk berbagai macam chord. Sebagai contoh, kita ambil major scale aja yah..

Kita ambil C major scale (supaya lebih gampang aja, karena TIDAK mengandung # ATAUPUN b)=
C major triad : C E G
D minor triad : D F A
E minor triad : E G B
F major triad : F A C
G major triad : G B D
A minor triad : A C E
B diminished triad : B D F

Nah, setelah anda tau tentang semua hal ini maka anda sudah bisa menyusun berbagai titik pada fretboard anda dengan berbagai macam triad tsb dan kemudian mengaplikasikannya ke dalam solo anda. Oh ya..lakukan hal yang sama untuk setiap key ( skala ) yang berbeda.

Contoh triad-triad yang bisa didapat dari C major scale :

C major triad
E----------
B----------
G----------
D--------5-
A-----7----
E--8-------

D minor triad
E-----------
B-----------
G-----------
D--------7--
A--5--8-----
E-----------

E minor triad
E------------
B------------
G--------4---
D-----5------
A--7---------
E------------

F major triad
E------------
B------------
G--------5---
D-----7------
A--8---------
E------------

Setelah anda mengetahui tentang triad tersebut,kita bisa kemudian membahas arpeggio. Arpeggio tidaklah berbeda dengan triad..mereka berprinsip sama adanya…



Ditulis Oleh : Jeansen:

Slash


Nama Asli: Saul Hudson
Tempat/Tgl Lahir: Hampstead (London), 23 Juli 1965
Gaya Permainan: Blues & Hard Rock
Group Band: Velvet Revolver, Slash's Snakepit, Gun's N' Roses, Hollywood Rose
Pengaruh musikal: Aerosmith, Led Zeppelline, Jimi Hendrix, Jeff Beck, Eric Clapton
Gitar Yang Digunakan: Gibson Les Paul, Gibson Flying-V, B.C. Rich Mockingbird, B.C. Rich Warlock, Fender Stratocaster, Fender Telecaster 1952, dll. 
Album Favorit: Aerosmith - Rocks, Cheap Trick : Live at Budokan, dan UFO - Strangers in the Night.

Rocker mana yang tidak kenal Slash? Namanya begitu terkenal diseluruh dunia semenjak mengorbit bersama salah satu band rock terbesar dunia, Gun's N' Roses. Sosoknya sangat mudah dikenali, berambut panjang, keriting, memakai topi panjang / topi sulap, dengan menggendong Gibson Les Paul serta tak lupa sebatang rokok Marlboro menempel dibibir adalah style Slash yang sangat familiar.

Slash lahir di Hampstead (London), Inggris pada tanggal 23 Juli 1965. Ayahnya seorang Inggris berkulit putih, dan ibunya warganegara Amerika berkulit hitam. Ibunya merupakan perancang busana panggung David Bowie, dan ayahnya bekerja sebagai desainer cover album rekaman. Di usia 11 tahun Slash pindah ke Los Angeles. Sejak dulu ia punya gaya hidup yang anti-sosialis. Untuk anak sebayanya, tampil dengan menggunakan jaket kulit, jeans kucel, dan rambut panjang sangat dipandang miring oleh masyarakat. Pertengahan tahun 70'an Slash mulai bermain BMX motorcross. Ia bahkan sempat mendapatkan penghargaan dan uang dari olahraga ini. 

Di usia 15 tahun, ia memperoleh gitar pertama dari neneknya. Akhirnya ia mulai belajar bermain gitar dengan banyak menyimak lagu-lagu dari Led Zeppelline, Eric Clapton, Rolling Stones, Aerosmith, Jimi Hendrix, Jeff Beck, dan Neil Young. Ia memutuskan berhenti dari olahraga BMX dan menekuni gitar. Setiap harinya ia berlatih selama 12 jam. Dikarenakan sibuk bermain gitar setiap harinya, ia kemudian dikeluarkan dari sekolah saat berada di tingkat 11. Ia pun semakin memperbanyak pergaulan dengan musisi-musisi muda dan melakukan jam session. Inspirasi dari Aerosmith sangat mempengaruhi skill bermusiknya. Tak lama kemudian ia bertemu Steven Adler dan membentuk band Road Crew. Hanya seorang gitaris dan drummer membuat mereka kemudian mencari vocalis. Seorang pemain bass bernama Duff McKagan menjawab iklan yang dipasang Slash di koran. Belakangan mereka sepakat mengganti nama bandnya dengan nama baru Hollywood Roses. Sambil terus bermain dari pub ke pub dan sempat merekam album demo, secara kebetulan Slash dkk bertemu dengan 2 personel band L.A. Guns, Izzy Stradlin dan Axl Rose. Setelah melakukan jam session, mereka masing-masing saling mengagumi kemampuan bermusik satu sama lain. Akhirnya bergabunglah kedua band tersebut dan memakai nama Gun's N' Roses. 

Mulanya mereka merelease album mini Live : Like a Suicide. Slash dkk merasa cukup puas dengan album yang bersifat pancingan ini, pasalnya mereka kemudian mendapatkan kontrak rekaman dengan label Geffen Records. Tahun 1987 Debut album perdana dilepas dengan judul album Appetite For Destruction. Diluar dugaan, hits single perdana Sweet Child O'Mine berhasil menjadi jawara ditangga lagu Billboard dan radio-radio. Intro lagu yang menunjukkan kemampuan Slash memainkan gitar langsung menjadi inspirasi bagi anak-anak muda di seluruh dunia. Diikuti kemudian oleh single Welcome To The Jungle yang juga dijadikan soundtrack film Dead Pool. Album ini melambungkan nama Slash sebagai gitaris pendatang baru terbaik. Dalam kurun waktu satu tahun, album ini telah berhasil menjual 20 juta keping album diseluruh dunia.

Tahun 1989, G N' R merilis album kedua, Lies. Namun penjualan albumnya tak sesukses album pertama. 2 tahun kemudian album Use Your Illusion I dan II dilepas ke pasaran. Album ini kembali membesarkan nama Slash sebagai gitaris terbaik. Di album ini ia mampu menampilkan permainan melodi yang harmonis dan menyentuh. Siapapun tak akan menyangkal bagaimana indahnya permainan solo Slash dalam lagu November Rain dan Don't Cry. Serta permainan yang juga tak kalah apiknya dalam nomor-nomor Estranged, Live and Let Die dan lagu You Could Be Mine yang menjadi soundtrack film box office, Terminator 2. Pada masa-masa ini Slash bersama bandnya mencapai puncak kejayaan dimana mereka turut menggelar tur dunianya. Terakhir, G N R memperoleh predikat sebagai The Dangerous Band In The World. Bahkan dinilai popularitasnyabisa melebihi The Beatles apabila terus menghasilkan album seperti ini. 

Album Spaghetti Incident yang direlease tahun 1993 menjadi album terakhirnya bersama G N R, pasalnya terjadi konflik internal didalam tubuh band itu sendiri. Slash tidak setuju terhadap visi Axl yang mulai ingin merubah warna musik GNR ke arah techno. Slash cabut dan mendirikan Slash's Snakepit. Bersama band barunya ini ia sempat merelease 2 buah album yaitu IT'S FIVE O'CLOCK SOMEWHERE tahun 1995 dan Ain't Life Grand tahun 2000. Sayangnya album-album tersebut tidak sesukses semasa masih bersama GNR. Setelah 2 tahun kemudian ia memutuskan berhenti dari proyek Slash' Snakepit dan membentuk band baru yang beranggotakan hampir semuanya mantan-mantan personel GNR. Duff pada bass , Matt Sorum pada drum, seorang gitaris baru Dave Kushner dan vocalis Scott Weiland (mantan vocalis Stone Temple Pillots). Debut album Contraband direlease tahun 2004. Album ini langsung bertengger di posisi puncak Billboard Charts. Hal ini dikarenakan kerinduan fans- fans GNR pada GNR sendiri yang menurut rumor akan merelease album baru namun tak kunjung tiba. Akhirnya kerinduan tersebut ditumpahkan kepada Velvet Revolver yang sebagian besar personelnya adalah pilar-pilar utama GNR dimasa lalu. Single perdana Slither berhasil menjadi debutan yang menjanjikan. 

Selain sibuk dengan bandnya sendiri, Slash juga ternyata pernah menjadi gitaris bagi musisi-musisi dunia lain seperti Michael Jackson. Bahkan pada tahun 2001, saat Michael Jackson merayakan 30 tahun karir musiknya, Slash menjadi bintang tamu dengan mengisi part gitar dan berduet di panggung pada lagu Black Or White dan Beat It. Slash juga berkali-kali terpilih menjadi Best Guitarist Of The Year dari majalah-majalah musik. Hal ini juga yang menyebabkan Gibson mengontraknya sebagai endorser dan artis Gibson. Kini koleksi gitarnya bahkan sudah melebihi angka 100 dan ada kemungkinan bakal terus bertambah.

J-Rocks / Selamat Tinggal Kekasihku bass tab

standard tuning 4 senar.


Intro
G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|--------------------------|--------------------------|-----------5-----3--------|----------/5-----3-----2--|
A|--------------------------|--5-----------------------|-----------------------5--|--3-----------------------|
E|--2-----/----------------|--------------------------|--------------------------|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|-----3--2--------2--------|--------------------------|-----------5-----3--------|-----------5-5-5-3--2-----|
A|-----------3--3--------3--|--5-----------------------|-----------------------5--|--3--------------------0--|
E|--------------------------|--------------------------|--------------------------|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|-----------2-----5-------|--------------------------|-----------5-----3--------|----------/5-----3-----2--|
A|--3--5-----------------3--|--5-----------------------|-----------------------5--|--3-----------------------|
E|--------------------------|--------------------------|--------------------------|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|--2-----/5----3--2--------|--------------------------|-----------5--------------|--------------------5-----|
A|-----3-----------------3--|--5-----------------------|--------------------5--5--|--3-----------------------|
E|--------------------------|--------------------------|--------------5--3--------|-----------3--3--3-----3--|

G|--------------------------|--------------------------|--------------------------|
D|--------------------5-----|--------------------5-----|----/5--5--3--2-----------|
A|--3-----------------------|--3-----------------------|--3--------------3--------|
E|-----------3--3--3-----3--|-----------3--3--3-----3--|--------------------5--0--|


Verse 1
G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------------------|
A|--------------------------|--------------------------|--3-----------------------|--------------------------|
E|--1-----------------------|-----------------/--------|--------------------------|--------------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------5-----------|
A|--------------------------|--------------------------|--------------------------|-----2-----5-----5--------|
E|--1-----------------------|--------------------------|--5-----------------------|--3-----------------5--0--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------------------|
A|--------------------------|--------------------------|--3--------3--------------|-----------2-----4--------|
E|--1--------1--------------|-----------------/--------|--------------------------|--5--------------------5--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|-----------------------3/-|--5-3-----2--3--2--------|
A|--5--------5--------------|--------------------------|--------------------------|--------------------3-----|
E|--------------------------|--------------------5----|--3--------3--------------|-----------------------0--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------------------|
A|--------------------------|--------------------------|--3--3--3--3--3--3--3--3--|--3--3--3--3--3--3--3--3--|
E|--1--1--1--1--1--1--1--1--|--1--1--1--1--1--1--1--1--|--------------------------|--------------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------------------|
A|--------------------------|--------------------------|--------------------------|--------2-----3--2--------|
E|--1--1--1--1--1--1--1--1--|--1--1--1--1--1--1--1--1--|--5--5--5--5--5--5--5--5--|--3--3-----3--------3--0--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|--------------------------|--------------------------|--------------------------|
A|--------------------------|--------------------------|--3--3--3--3--3--3--3--3--|-----------2-----4-------|
E|--1--1--1--1--1--1--1--1--|--1--1--1--1--1--1--1--1--|--------------------------|--5--5--------------------|

G|--------------------------|--------------------------|--------------------------|-----------4-h5p4---4-----|
D|--------------------------|--------------------------|--------------------------|--------5---------5----5--|
A|--5--5--5--5--5--5-----5--|--------------------5-----|--3--3--3--3--3--3--3--3--|--3--3--------------------|
E|--------------------5-----|--3--3--3--3--3--3-----3--|--------------------------|--------------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------3-----|--------------------------|--5-----------------------|--------------------------|
A|-----------3--------------|--------------------------|-----------5--------------|--------------------------|
E|--1-----------------------|--------------------------|--------------------3-----|--------------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--3-----------------------|--------------------------|--5-------5-------5-------|--------------------------|
A|-----------3--------------|--------------------------|--------------------------|--------------------------|
E|--------------------1-----|--------------------------|------3-------3-------3---|-------------------------|


Chorus 1
G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|----------/5--------------|--------------------------|----------/7-----5--3--2--|
A|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|-----7--------------------|
E|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|--5-----------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|----------/5--------------|--------------------------|-----------2-----5-------|
A|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|--3--5--------------------|
E|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|--------------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|----------/5--------------|--------------------------|----------/7-----5--3--2--|
A|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|-----7--------------------|
E|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|--5-----------------------|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|--------------------------|----------/5--------------|--------------------------|----/5-----3--3--2-----2--|
A|--5-----3--5--5-----5-----|-----5-----------5-----5--|-----------2--2--3--3-----|--------------------3-----|
E|-----5-----------5-----5--|--3-----------------3-----|--5--------------------3--|--------------------------|

G|----------------------/5--|-----5--5--4--4-----4-----|-----------4-----5--------|----/12---10-10-10p9---9--|
D|--3--------2-----3--------|-----------------5-----5--|-/7--------------------5--|--------------------10----|
A|--------------------------|--------------------------|--------------------------|--------------------------|
E|--------------------------|--------------------------|--------------------------|--------------------------|

G|-10----10--9----10----/17-|-17-17-17-16-16-----------|
D|--------------------------|----------------17-17-----|
A|--------------------------|--------------------------|
E|--------------------------|--------------------------|


Interlude
G|----------/7-----5-----4--|-----5--4-----------------|--------------------------|--------------------------|
D|--------------------------|-----------5-----3--------|-----------5-5-5-3-----2--|-----3--2--------2--------|
A|--5-----------------------|-----------------------5--|--3-----------------------|-----------3--3--------3--|
E|--------------------------|--------------------------|--------------------------|--------------------------|

G|----------/7-----5-----4--|-----5--4-----------------|--------------------------|--------------------------|
D|--------------------------|-----------5-----3--------|-----------5-5-5-3--2-----|-----------2-----5-------|
A|--5-----------------------|-----------------------5--|--3--------------------0--|--3--5-----------------3--|
E|--------------------------|--------------------------|--------------------------|--------------------------|

G|----------/7-----5-----4--|-----5--4-----------------|--------------------------|--------------------------|
D|--------------------------|-----------5--------------|-----------5-----3-----2--|-----3--2--------2--2-----|
A|--5-----------------------|-----------------------5--|--3-----------------------|-----------3--3--------3--|
E|--------------------------|-----------------5--3-----|--------------------------|--------------------------|

G|----------/7-----5-----4--|-----5--4-----------------|--------------------------|-----5--4--5--------------|
D|--------------------------|-----------5--------------|-----------2--1--2--5--4--|--5-----------5--4--5-----|
A|--5-----------------------|-----------------------5--|--3--2--3-----------------|--------------------------|
E|--------------------------|-----------------5--3-----|--------------------------|--------------------------|

G|--------------------------|
D|--------------------------|
A|--3-----------------------| rest 8 bar
E|--------------------------|


Chorus 2/Outro
G|--------------------------|--------------------------|--------------------------|--------------------------|
D|-----------2-----5-------|--------------------------|----------/5--------------|--------------------------|
A|--3--5--------------------|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|
E|--------------------------|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|----------/7-----5--3--2--|--------------------------|----------/5--------------|--------------------------|
A|-----7--------------------|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|
E|--5-----------------------|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|----------/7-----5--3--2--|--------------------------|----------/5--------------|--------------------------|
A|--------------------------|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|
E|--5--3--5-----------------|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|

G|--------------------------|--------------------------|--------------------------|--------------------------|
D|----------/7-----5--3--2--|--------------------------|----------/5--------------|--------------------------|
A|-----7--------------------|--5-----3--5--5-----5-----|-----5-----------5-----5--|--3-----2--3--3-----3-----|
E|--5-----------------------|-----5-----------5-----5--|--3-----------------3-----|-----3-----------3-----3--|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|-----------2-----5-------|--------------------------|-----------5-------------|----------/5-----3-----2--|
A|--3--5--------------------|--5-----------------------|-----------------------5--|--3-----------------------|
E|--------------------------|--------------------------|-----------------5--3-----|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|--2--3--2--------2--2-----|--------------------------|-----------5-------------|----------/5-----3--2-----|
A|-----------3--3--------3--|--5-----------------------|-----------------------5--|--3--------------------0--|
E|--------------------------|--------------------------|-----------------5--3-----|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|-----------2-----5-------|--------------------------|-----------5-------------|----------/5-----3-----2--|
A|--3--5--------------------|--5-----------------------|-----------------------5--|--3-----------------------|
E|--------------------------|--------------------------|-----------------5--3-----|--------------------------|

G|--------------------------|----------/7-----5-----4--|-----5--4-----------------|--------------------------|
D|--2--3--2--------2--2-----|--------------------------|-----------5-------------|----------/5-----3--2-----|
A|-----------3--3--------3--|--5-----------------------|-----------------------5--|--3--------------------0--|
E|--------------------------|--------------------------|-----------------5--3-----|--------------------------|

G|--------------------------|-----7-----7-----7-----7--|--------------------------|-----5-----5-----5-----5--|
D|-----------2-----5-------|--------------------------|-----5-----5-----5-----5--|--------------------------|
A|--3--5-----------------3--|--5-----5-----5-----5-----|--------------------------|--3-----3-----3-----3-----|
E|--------------------------|--------------------------|--3-----3-----3-----3-----|--------------------------|

G|--------------------------|-----7-----7-----7-----7--|--------------------------|--------------------------|
D|-----7-----7-----7-----7--|--------------------------|-----5-----5-----5-----5--|--------------------7--5--|
A|--------------------------|--5-----5-----5-----5-----|--------------------------|--3--2--3--7--5--7--------|
E|--5-----5-----5-----5-----|--------------------------|--3-----3-----3-----3-----|--------------------------|