This is a neoclassical tool we can use in lead composition. We are going to look at extracts from Bach’s 1st Cello Suite, Prelude and Courante, see how Bach uses pedal points, then look at how we can apply this in our own playing. Extract from Courante in Bach's 1st Cello Suite This extract is from Bach’s Prelude in his first Cello Suite. You can see that from the second beat of this example, Bach is using the note D (fret 7 on the G string), and then chromatically ascending from D, and going back to D each time.

Today we are going to look at some ideas we can use within the harmonized major scale to help us compose tapping ideas. We’ll be looking at the e and B strings. We are going to be basing these ideas around three shapes: Major: 1 3 5 Minor: 1 b3 5 Diminished: 1 b3 b5 So, to start off with, let’s out the notes in the following chords: C major: C E G C minor: C Eb G C diminished: C Eb Gb Next, for each of those three chords, we want to map out those notes in ascending order on the second string.

This is an article I wrote for Heavy Metal’s “Guitarget Practice” column in January 2015. Great for: Steve Vai fanboys, creating a more vocal sound from your guitar, ear training, creativity. Introduction In this article we’ll cover some quick definitions, limitations of frets and some ways we can train our brain, ears and hands to work together to create some great melodies via the whammy bar. Limitations of Frets Frets are awesome, don’t get me wrong.

This page contains an archive of all posts.