Guitar Jar Allan Holdsworth Lesson Scale Shapes. Allan Holdsworth - Reaching for the Uncommon Chord. Chops: Advanced Theory: Beginner Lesson Overview: • Strengthen your hammer-ons and pull-offs. • Build fretting-hand stamina and fluidity. • Create phrases that flow across bar lines. Let’s take an in-depth look at how to incorporate legato techniques into your playing. In its most basic form, this is simply using various hammer-ons, pull-offs, and slides—collectively known as slurs—to create a smooth and fluid sound. Many guitarists use this technique to great effect, and Allan Holdsworth, Brett Garsed, Joe Satriani, and Eddie Van Halen are among those who have developed individual approaches to this technique. They also play very fast and unusual note groupings that don’t have a strict regimented rhythm, which creates the effect of playing “across the beat.” Check out the legato lines on the classic Van Halen track “Drop Dead Legs.”. Joe Satriani and Richie Kotzen have another approach to the technique, where they use diatonic lines based around three-note-per-string scale patterns. Satriani often plays shorts spurts of legato with long held notes, once again playing over the beat. Some great examples of this can be herd on “Flying in a Blue Dream.” Kotzen has a very strong fretting hand, and in addition to his scale-based lines, he uses his legato technique to play “outside” phrases and arpeggios. To my mind one of the best legato ambassadors is Brett Garsed, who uses the technique nearly exclusively. In conjunction with some hybrid picking, his legato fretwork produces a very full, rich sound. This approach takes a lot of dedication and discipline. Check out this video below of a solo Garsed performed in 1986 when he was only 23! Fretting-hand position is very important when playing legato. I’d suggest positioning your thumb slightly lower on the back of the neck, rather than over the edge of the fretboard as you might when playing pentatonic ideas. ![]() Greatest toys of 2017. Make sure that your fretting fingers are spaced out (roughly a finger per fret), and the notes are sounded with your fingertips. It’s also vital that you keep the fingers close to the fretboard because the pinky has a tendency to flap around slightly and is harder to control. Keeping it close means a more efficient left hand. This will also help with stamina, as your hand won’t become tired as quickly. We should also consider the picking hand, as you will on occasion have to pick the first note in a run. It’s important not to pick too hard because you don’t want huge dynamic shifts between the plucked notes and those performed with hammer-ons and pull-offs. The CAAP-2 is the most current assessment for articulation and phonology. It is time-efficient, accurate, and yields results that are easy to score and interpret. You can administer the Articulation Inventory in 15-20 minutes. I’d suggest a light picking attack to match the volume of the notes initiated with your fretting hand. This is a great way to improve the interaction between the left and right hands when performing legato passages. Another area that requires attention is muting open strings while playing legato lines. When working on the top strings, I mute the unused lower strings with the fleshy part of my palm, under the thumb. As I move my fretting hand across the strings, I gradually remove the picking-hand mute and transfer that duty to the first finger of my fretting hand. Now let’s take a look at our examples, which include technical exercises to help you work on developing and improving the legato technique, as well as “real world” phrases based on the styles of various players. ![]() 1 is a basic exercise that helps build strength and finger independence. It’s based around a hammer-on and pull-off idea with the first finger anchored at the 5th fret. 2 to develop both finger independence and endurance. The sequence can be tricky, so I’d suggest starting at a slow tempo and gradually building up speed. I’ve shown this pattern on the top four strings, but would encourage you to continue across the remaining strings. 3 is another timing and strength exercise that features an ascending and descending 16th-note triplet pattern. I’ve presented the sequence on the top three strings, and they should be repeated to build stamina. Practice these patterns with a metronome. You’ll really notice your fretting-hand strength improving. Managing successful programmes certification. The goal with Ex. 4 is to be able to loop around a few times while keeping tone and time even. When ascending, use your first and second fingers, and when descending keep the fretting hands in the same position, but pull off between the fourth and second fingers.
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