In today’s lesson, the third part in our series about two-note chords, we’re going to look at adding one note on top of the 3rd and 7th shapes you learned in the previous two lessons. When doing so, you begin to create a “two hands of the piano”-type feel, especially when rhythmic variation is involved — as is the case in Example 3 in this lesson.
Most of us regard changing or replacing strings as arduous and time-consuming, but it doesn’t have to be. Depending upon the type of guitar you own, string changing can be accomplished in a matter of minutes. Constant repetition is the key — kind of like practicing — and as a guitarist, that’s what you do.
I’ve always been intrigued by the way pedal-steel players compile notes differently than electric guitarists. Whereas the electric guitar kind of technically limits—or should I say more narrowly influences—how you form chords and craft licks, the pedal steel offers the player a lot of options, what with all those crazy pedals and knee-operated levers, additional strings, open tunings and the slide.
In this lick, I'm using the blues scale in the key of E. When used in the right fashion, this scale can sound incredibly dark and even a little evil! It is the dissonant sound of the flat 5 that creates the dark feeling. In the traditional blues format, the flat 5 is used as a passing note. This creates the intensity and gives tremendous feeling to the lines or licks.
These videos are bonus content related to the October 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
In this column, I'd like to expand a bit upon my last column, in which I discussed some basic fingerpicking patterns. We are going to take those basic patterns and expand upon them — but not with more right-hand patterns. This time, we will change the left hand. In this exercise, we will keep the right-hand pattern/approach the same. However ...