United Stringdom: More on Ascending and Descending Legato Runs and Developing "Fret-Hand" Traction
Falling In Reverse
The following content is 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.
As I’ve mentioned in previous columns, when I’m soloing I like to combine a variety of flashy techniques—such as sweep picking, fretboard tapping and legato articulations—that allow me to play very fast lines. These techniques can be heard in my solos to the songs “Good Girls, Bad Guys” and “Don’t Mess with Ouija Boards” from the Falling in Reverse album The Drug in Me Is You. For this month’s lesson, I’d like to go over portions of those solos.
The “Good Girls, Bad Guys” solo is based primarily on a combination of the D Dorian mode (D E F G A B C) and the D blues scale (D F G Af A C), but I also throw in the major seventh, Cs, which I use as a chromatic passing tone between D and C, on the D string’s 11 fret. FIGURE 1 illustrates the closing section, which is my favorite part of the solo.
I begin with a quick hammer/pull on the high E string that moves between the 10th, 12th and 13th frets, for which I use my index finger, ring finger and pinkie. As the solo progresses, I stick with these finger/fret assignments across the top three strings. When I get down to the D string on beat three, I move quickly between the ring, middle and index fingers to play the chromatic passages on the D and A strings.
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