In last month’s installment of Chop Shop, we looked at a classical-flavored run in E minor that incorporated arpeggios, octaves and a simple but cool-sounding octave finger tap. This month we’re going to expand upon that approach by again employing arpeggios, this time also bringing in some sweep picking, a sliding finger tap, pinch harmonics and behind-the-nut string bending.
In thIs month’s Chop Shop we’re going to look at a couple of weird two-hand tapping ideas that don’t make a whole lot of musical sense from a scale or theory point of view but sound very cool, nevertheless. The example in FIGURE 1 sounds like what you might expect to hear from a broken computer that needs to be fixed—or perhaps an alien radio.
In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends. This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing.
In last month’s column, we looked at a neat pattern and lick in the key of B that incorporated the use of hybrid picking (pick-and-fingers technique). To follow up on and expand upon that topic, I’d like to present two further ideas based on the same pattern, and then show you an elegant run inspired by the great gypsy jazz guitarist Django Reinhardt.