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.
I wrote the song’s main theme by adding a melodic element to an arpeggio idea I was exploring, borrowed from guitarists Steve Morse and Eric Johnson. The idea is to arpeggiate barre chords whose roots are on the fifth string, but only play the root, fifth and third — leaving out the octave.
We, as musicians, are in the service industry. When most people think of the service industry, they think of waiters, housekeepers, etc. But we are all in the service industry! First and foremost, we must be of service to ourselves! You cannot give your best to others till you have given your best to yourself. Have you truly been honest with yourself?
When skipping to another string, often the first note is hammered on "from nowhere" by one of the fret-hand fingers [indicated by "H"]. Strive for an even attack and volume note to note, making each hammer-on quick and firm. When pulling off, flick the string slightly sideways, in toward the palm.