Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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Once you get the general idea, test yourself by counting the notes out loud as you go. If you say (or sing) "one" for Ab, "two" for the next note, etc., you should return to Ab just as you say "42", which is after all [[wikipedia:Phrases_from_The_Hitchhiker's_Guide_to_the_Galaxy#Answer_to_the_Ultimate_Question_of_Life,_the_Universe,_and_Everything_(42)|The Answer to the Ultimate Question of Life, the Universe, and Everything]]! | Once you get the general idea, test yourself by counting the notes out loud as you go. If you say (or sing) "one" for Ab, "two" for the next note, etc., you should return to Ab just as you say "42", which is after all [[wikipedia:Phrases_from_The_Hitchhiker's_Guide_to_the_Galaxy#Answer_to_the_Ultimate_Question_of_Life,_the_Universe,_and_Everything_(42)|The Answer to the Ultimate Question of Life, the Universe, and Everything]]! | ||
Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use a close voicing for root-4 chords, a | Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use a close voicing for root-4 chords, a hi3 voicing for root-5 chords, and a hi35 voicing for root-6 chords. (See [[hi-lo notation]].) | ||
If you're really obsessed with music theory, rather than counting to 42, say the actual note names: | If you're really obsessed with music theory, rather than counting to 42, say the actual note names: | ||
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In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | ||
For example, with a downmajor chord in R-5-10 (aka | For example, with a downmajor chord in R-5-10 (aka hi3) voicing, bend the 3rd up slightly with your pinkie. Listen closely for interference beats that slow down as you bend up. It may help to play the actual coinciding harmonics first. As you play 4 x 3 x 5 x, play matching artificial harmonics at <v11> x x x <v26> x, and also at x x <v10> x <17> x (see Harmonics above). For a 4 x 3 5 5 x voicing, to bend the 3rd up, you'll need to pull your pinkie down towards the treble side of the fretboard. For a 1st inversion x 4 3 5 x x voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 x x voicing. | ||
It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | ||