I suffered through and you can hear that because the pitches are not perfect. When I recorded the track below, I had recently burned my left hand on my lawn mower and had a huge blister, which made the pulling more difficult.
It sounds more difficult than it is but it’s important to have the right gauge of strings on your guitar in order to get the pitches right every time. The performance requires a rather cool and mildly difficult string pull of two strings in one–you are pulling string 2 up a whole step and string 3 up a 1/2 step. This is a great tuning and it also works well for 6 string (just leave off the low G# and E). Note: I tried a funky little thing using the V7 and IV7, which is just a little out of tune, but it was a new discovery so I’ll take it!īack in 2011, I did a little arrangement of Bud’s Bounce for non-pedal steel in E9 tuning (E B G# F# D B G# E). This helps to keep the slants a little more in tune. Also, don’t forget to adjust your tuning by flattening the E and A strings ever so slightly. For wider spacing you may need a slightly longer bar. As always, I recommend using a bullet bar, and 3″ is probably a safe length, depending on your string spacing. These slants span 3 and even 4 frets (as in bar 4). There are some slants that are not really playable unless in the upper range of the instrument, usually fret 7 and above. I am using a long scale Clinesmith Instruments “Joaquin” model tuned to C13 with an E first string, but only the first 5 strings are used, so this is playable on a 6 string instrument. The material itself is basic, but the slants are unorthodox (personally, I haven’t seen anyone using these before) and the picking very specific. This is what I would consider to be Intermediate/Advanced, or Ninja Jr. This works really well for emulating the sound of pedal steel.Ĭheck out the video and tab below. By mostly keeping the notes confined to the same strings, we can achieve a continuity that allows smooth transitions and easier picking. This little exercise runs through the major triads of the G major scale using triads built on every degree of the scale, all either I, IV or V-the tonic, subdominant and dominant. I find it helps me best retain when I immediately put the material to use. To practice in an unmusical way by just robotically playing through scales, etc.
I like to practice things by making musical exercises out of them.
0 kommentar(er)
