Another great thing about this spread-fingering shape is that, from a theoretical perspective, it makes it much easier to visualize your scale intervals and to navigate across them. Say, for instance, you want to figure out how your I, III and V intervals sound when played together. You can do so easily by using this spread fingering position.
Put a Sixties Fender Twin next to a modern Crate practice amp, and you won’t see or hear many similarities — besides reverb. The effect is used to add dimension to your sound and help smooth out dynamics — to sound less like a textbook, if you will. Reverb is, hands down, the reason terrible singers think they sound great in the shower!
When I asked my Facebook followers what they wanted me to write about this week, I was excited to see a question about maintaining physical and mental health in the practice room. As guitarists, it’s easy for us to put our heads down for hours at a time, only coming up when we’ve gotten hungry or tired enough to eat or sleep, before jumping back on the instrument we love so much.
Once I hit the high E string, I switch to legato phrasing, continuing the triplet rhythm and using all four fret-hand fingers, spread out wide, to perform "stacked" hammer-ons and pull-offs, capped off by a pick-hand tap with the middle finger.
Highlights included an arena-sized version of “Stranger in This Town” and a thundering “Seven Years Gone,” featuring exciting fretwork from both Sambora and Orianthi. While Ori gave Richie most of spotlight, she wasn’t shy when it was her turn to solo. Her incredible technique and more trebly, biting tone lit a fire under the frontman’s ass, who clearly enjoyed being challenged.