In part 4 we covered quarter-note triplets, 16th-note triplets and sextuplets and learned how to create tricked-out hemiola licks by taking a repeating note pattern and changing its rhythm so that the pattern begins, or "pops," on a different part of the beat each time it's repeated (rhythmic displacement). Now we're going to dive deeper into the rhythmic realm and explore a new subdivision, quintuplets-five evenly spaced notes per beat-and learn how to create psychedelic "nightmare" licks.
Well, gang, here it is: the final installment of Chopin's Piano Concerto in A minor, Opus No. 2. Those of you who have braved the storm of 16th notes over the past two columns have earned the right to pat yourselves on the back. You're going to get a bit of a reprieve this time, because, at the beginning of this section, Chopin restates the first six bars of the piece and then adds bars 15-17 of the opening section for good measure (use my column Romancing the Fretboard, Part 1 as a reference).
In the video below, Janus guitarist Mike Tyranski shows you how to play “In Flames,” a song off Janus' upcoming album, Nox Aeris, which will be released March 27 on REALID Records. Nox Aeriscan be pre-ordered from iTunes here.
In this lesson, we go back to a previous lesson's technique of using tapping in combination with slides, hammer-ons and unassisted hammer-ons to generate speed and create a very fluid, "bubbly" type of sound. What I like most about this technique is that it is a very easy method of pulling off fast licks without requiring much dexterity from all the fingers of the fretting hand.