The Free Hands Method

In 1969 Emmett Chapman, who had no previous knowledge of DeArmond, Webster or any other tapping guitarists, discovered that he could tap on the strings with both hands, and that by raising the neck up could align the right hand's fingers with the frets as on the left, but from above the fretboard. This made scale-based melody lines just as easy to tap in the right hand as the left, and a new way of playing a stringed instrument was born. Chapman redesigned his home-made 9-string guitar to support his new playing method, and began selling his new instrument (The Chapman Stick) to others in 1974. In 1976 Chapman published his volume of collected lessons he used for teaching guitarists and Stick players as "Free Hands: A New Discipline of Fingers on Strings."

The Touch System

As mentioned before, this is a whole playing style and a whole book could be written about it. The first musician to play this way was pickup designer Harry DeArmond in the 1940's, who used tapping as a way to demonstrate the sensitivity of his pickups. While each hand could play its own part, DeArmond held his right hand in the same orientation as conventional guitar technique. This meant the ability of that hand to tap scale-based melody ines was limited. He taught his approach to Gretch Guitars employee Jimmie Webster, who wrote an instruction book called "The Touch System for Amplified Spanish guitar." Webster made a record and travelled around demonstrating the method. Even though it inspired a few builders (Dave bunker, for example), the Touch System was limited by the lack of equal movements for the right hand and never caught on.

Interdependent tapping

Interdependent tapping is by far the most common type of tapping. It is generally used as a lead guitar technique, most commonly during solos; however, a small number of songs are entirely tapped. The player's picking hand leaps out to the fretboard and begins to tap the strings with the fingers. However, one must get the pick out of the way in order to tap. Some players do this by sticking the pick between their fingers; others simply use the middle finger to tap. The Van Halen technique of getting rid of the pick is done by moving the pick into the space between the first and second joints of his middle finger.

Guitar/Tapping

Tapping is the short name of fretboard tapping or finger tapping: the act of tapping the fingers against the strings in order to produce sounds, rather than striking or plucking the strings. Specifically, it usually refers to two-handed tapping, that is, tapping involving both the left and right hand. It is not clear who discovered tapping, but it was certainly popularized, but not discovered, by Eddie van Halen. Van Halen was listening to "Heartbreaker" by Led Zeppelin, and he was quite inspired by the solo, which contained a variation of tapping. This is arguably the song that pushed Van Halen to popularize and use "tapping" frequently. A rather different kind of independent two-handed tapping, which is a whole playing method rather than a technique, was discovered by Harry DeArmond and named "The Touch System" by his student Jimmie Webster. Another method of independent tapping was discovered by Emmett Chapman, where the right hand comes over the fretboard and lines up with the frets like the left. Therefore this book dubs the three kinds of tapping Interdependent tapping and The Touch System", and the "Free Hands Method."

String Choke

If the strings are really slack, you can quickly whip the tremolo bar back up until it clicks, making a string choke. Sometimes overtones will remain, and you can get some interesting sounds and harmonies. However, these tend to disappear quickly as it is drowned out by the harmonics of the new string pitch.

Windmill

The "windmill" develops if you just keep
turning the tremolo bar in a circle. Naturally,
the tone moves up and down at a regular
pace. However, this can sound very "outer
space" and can easily be over done, and
you should use this sparingly.

Ruler Sound

If you press the tremolo bar down, and then
suddenly release it upwards and quickly
alternate between high ups and down,
it makes a snap-away sounds, like a ruler
vibrating off the edge of a table. The
principle behind this is similar to the cat purr.

Guitar chords

guitar cartoons

Beatles - Yesterday, Guitar Chords with Lerycs

D F#
Yesterday, all my troubles
Bm G
Seemed so far away
A7 D
Now it looks as though they're here to stay
Bm E G D
Oh I believe in yesterday
Suddenly, I'm not half the man
I used to be
There's a shadow hanging over me
Oh yesterday came suddenly


D F# Bm A G
Why she had to go
Bm Em A D
I dont know she wouldn't say
I said something wrong
Now I long for yesterday
Yesterday, love was such
An easy game to play
Now I need a place to hide away
Oh I believe in yesterday
Why she had to...
D E G D
Mm...mm...mm...mm...

Metalica - Nothing else matters, Guitar chords with lerycs

Em D C Em


So close no matter how far
D C Em
Couldn't be much more from the heart
D C G
Forever trusting who we are
B Em
And nothing else matters


Never opened my self this way
Life is ours, we live it our way
All these words I don't just say
And nothing else matters


Trust I seek and find in you
Every day for us something new
Open mind for a different view
And nothing else matters
C A D C
Never cared for what they do
A D C
Never cared for what they know
A D Em
But I know
Never cared for what they say
Nver cared for what they play
Never cared for what they do
Never cared for what they know
But I know

GNR - Knocking on heaven's door, Guitar Chords with lerycs

G/D9/C...




G D9 Am7
Mama take this badge from me
G D9 C
I can't use it anymore
G D9 Am7
It's getting dark too dark to see
G D9 C
Feels like I'm knockin' on heaven's door
G D C
Knock-knock-knockin' on heaven's door...


Mama put my guns in the ground
I can't shoot them anymore
That cold black cloud is coming down
Feels like I'm knockin' on heaven's door


Knock-knock-knockin' on heaven's door...

Zeher - Woh lamhe, Guitar chords with lerycs

Am G
Wo lamhe wo batien koi na jaane
Am
Yeh kaisi ratien
G F G
Ho barsatein wo bheegi bheegi yaadien
Am
Wo bheegi bheegi yaadien
Am G
Na main jaanu naa tu jaane
Am G
kaisa hai ye mausam koi na jaane
G C Am C Am
Kahan se ye fiza aayi gamon ki dhoop sang layi
G Am G
Juda ho gaye hum khafa ho gaye hum

Kuch Kuch hota hai - Koi mil gaya, Guitar Chotds with Lerycs

A
Koi mil gaya


E
Koi mil gaya


D7
Koi mil gaya


A G
Mujhko kya hua hai


A G
Kyon main kho gaya hoon


A G
Paagal tha main pehle


A G
Ya ab ho gaya hoon


Bm
Behki hai nigahein


G
Aur bikhre hain baal


E
Tumne banaya hai
Kya apna ye haal


E
Koi mil gaya


E
Mera dil gaya


A
Kya bataoon yaaron


E
Main to hil gaya


D7 A D E
Koi mil gay mil hi gaya


A
Mil gaya


A E
Jaane kya ho gaya hai mujhe


A E
Deewana log kehne lage


G
Ye deewangi hai kya


D
Humein bhi to ho pata


E A
Tumko kya ho gaya
Arre kal tak mujhko sab hosh tha
Dil mein khushiyon ka josh tha
Phir ye becheini hai kyon
Phir ye betaabi hai kyon
Kya koi kho gaya
Koi mil gaya...
Baadal banke kaun aa gaya
Kaun hai jo dil pe yoon chha gaya
Chaahoon ki bataoon main
Phir bhi keh na paoon main
naam uska hai kya
O naam na lo par kuchh to kaho
Halka sa koi ishaara to do
Meri aankhon mein hai vo
Meri saanson mein hai vo
Aur kahoon tumse kya
Koi mil gaya..
Muhko kya hua hai..

Kal ho na ho - Kal ho na ho , Guitar chords with Lerycs

C G


Har Ghadi Badal Raha Hai Roop Zindagi


C G
Chaav Hai Kahhi Hai Dhoop Zidnagi


F
Har Pal Yahan


C
Jee Bhar Jiyo


F Bb
Jo Hai Sama


C
Kal Ho Na Ho




G F
Chaahe Jo Tumhe Poore Dil Se


G F
Milta Hai Woh Mushkil Se


G F
Aisa Jo Koi Kahin Hai


G F C
Bas Vahi Sabse Hasin Hai


Us Haath Ko Tum Thaam Lo
Woh Meherbaan Kal Ho Na Ho
Har Pal Yahan
Jee Bhar Jiyo Jo Hai Sama
Kal Ho Na Ho




Palko Ke Leke Saaye
Paas Koi Jo Aaye
Lakh Sambhalo Paagal Dil Ko
Dil Dhadke Hi Jaaye
Par Sochlo Is Pal Hai Jo
Woh Dastan Kal Ho Na Ho
Har Pal Yahan
Jee Bhar Jiyo Jo Hai Sama
Kal Ho Na Ho
Har Pal Yahan
Jee Bhar Jiyo Jo Hai Sama
Kal Ho Na Ho

Bombay - Humma Humma, Guitar Chords with Lerycs

A G A G


Ek ho gaye hum aur tum to ud gayi neendein re
A G A
Aur khanki paayal masti mein to kangan khanke re


A G
Humma humma humma humma humma
A G
Hey humma humma humma humma humma


Ye pehli baar mile tum pe ye dam nikle
Tum pe ye jawaani dheere dheere ma dham machle re


Humma humma humma humma humma
Hey humma humma humma humma humma


A G
Khili chaandni jaisa ye badan janam mila tumko
A
Mann me socha tha jaisa roop tera aaya nazar humko
A
Sitam khuli khuli ye sanam gori gori
G
Ye baahein karti hain yoon
A G
Humein tumne jab gale lagaaya to kho hi gaye hum to


Humma humma humma humma humma
Hey humma humma humma humma humma
Ek ho gaye hum...


Khuli zulf mein teri aankhon mein madhosh ho gaye
Gore gaal pe bheege honth pe yaara fida ho gaye
Sanam pyaar mein bheegi raat mein pyaas jagaate rahein
Khatam na ho kabhi sanam ka mausam chaahat badhti rahe


Humma humma humma humma humma
Hey humma humma humma humma humma
Ek ho gaye hum...

Dilse - Chal Chaiyya Chaiyya, Guitar chords with Lerycs

E Asus2


Jinke Sar Ho Ishq Ki Chaaon




E Asus2
Paanv Ke Neeche Jannat Hogi




E Asus2 A
Jinke Sar Ho Ishq Ki Chaaon








G
Chal Chaiyya Chaiyya Chaiyya Chaiyya,


A
Chal Chaiyya Chaiyya Chaiyya Chaiyya


G
Chal Chaiyya Chaiyya Chaiyya Chaiyya,


A
Chal Chaiyya Chaiyya Chaiyya Chaiyya - 2






A
Saare Ishq Ki Chaaon Chal Chaiyya Chaiyya - 2
Paanv Janat Chale Chal Chaiya Chaiya - 2






A
Woh Yaar Hai Jo Khusbhu Ki Tarah


D
Jiski Zubaan Urdu Ki Tarah


G
Meri Shamo-raat Meri Kaynaat


A
Woh Yaar Mera Saiyyan Saiyyan


Chal Chaiyya Chaiyya...






A
Gulposh Kabhi Itraye Kahin,
Mehke To Nazar Aa Jaye Kahin - 2


A
Taabeez Banaa Ke Pahnoo Use Aayat Ki Tarah Mil Jaaye Kahin


A A#
Taabeez Banaa Ke Pahnoo Use Aayat Ki Tarah Mil Jaaye Kahin


A
Gulposh Kabhi Itraye Kahin, Mehke To Nazar Aa Jaye Kahin






A
Mera Nagma Wahi Mera Kalma Wahi -2


A
Yaar Misaale Os Chale


G
Panv Ke Tale Firdaus Chale


D
Kabhi Daal Daal Kabhi Paat Paat


A
Main Hawa Pe Dhoondho Uske Nishaan


Saare Ishq Ki Chaaon Chal Chaiyya Chaiyya - 2
Paanv Janat Chale Chal Chaiya Chaiya - 2




A
Main Uske Roop Ka Shahdayi


D
Woh Dhoop Chaanv Sa Harjai


G
Woh Shokh Hai Rang Badalta Hai


A
Main Rang Roop Ka Saudaai


A
Jinke Sar Ho Ishq Ki Chaanv


D
Panv Ke Neeche Jannat Hogi - 2


G
Meri Shamo-raat Meri Kaynaat


A
Woh Yaar Mera Saiyyan Saiyyan
Chal Chaiyya Chaiyya...

RHCP - Californication guitar chords with lerycs

Am F Am




Psychic spies from china try to steal your mi nds elazation. Little girls from Sweed en dream of


F C G F Dm
silver screen quotations. And if you want t hese kind of dreams its C alifornication.




Do this throughout the verses






Pre-Chorus


Am Fmaj7 Am Fmaj7


Pay your surgeon very well to break the sp ell of ageing. Celebrity skin is this your chin or is


Am Fmaj7 Am Fmaj7
that the war your waging? First bor n unicorn hard co re soft porn.






Chorus


C G7 Dm9 Am C G7 Dm9
Dream of Californica tion d ream of californi cation


Psychic spies from China try to steal your minds elation
little girls from sweeden dream of silver screen quotations
and if you want these kind of dreams its californication.
Its the edge of the world
And all of western civization
The sun may rise in the east
At least it settles in the final location
It`s understood that Hollywood sell Californication
Pay your surgeon very well to break the spell of ageing
Celerity skin is this your chin or is that the war your waging?






Chorus
First born unicorn hard core soft porn
Dream of californication dream of californication.
Marry me girl be my fairy to the world
Be my very own constellation
A teenage bride with a baby inside getting high of information
And buy me a star on the boulavard its californication
Space may be the final frontier but its made
in a hollywood basement
Cobain can you hear the spreres
singing songs off station to station
And alderons not far away its californication
Born and raised by who praise
Control of population everybodys been there and i dont
mean on vaction






Chorus


Destruction leads to a very rough road but it also
breeds creation
And earthquakes are to a girls guitar
therye just another good vibration
and tidal waves couldent save the world from californication
Pay your surgeon very well to break the spell of ageing
sicker than the rest
there is no test
but is this what your craving
Well that is it I had alot of fun doing this and it took me alot of time.

cold play - X and Y lerycs with guitar codes

Em F


Trying hard to speak and


Am G
F ighting with my weak hand


Em F
Driven to distraction


Am G
It's all part of the plan






Em F
When something is broken


Am G
an d you try to fix it


Em F D F
Trying to repair it a nyway you c an






D7/F# F D7/F# F










Em F
I dive in off the deep end


Am G
You become my best friend


Em F Am G
I wanna love you but I don't know if I can






Em F
I know something is broken


Am G
and I'm trying to fix it


Em F Am G
T rying to repair it a nyway I can










D7/F# F D7/F# F
Ooooh h, ooooh h


D7/F# F D7/F# F
Ooooh h, ooooh h






C Bb D
You and me are floating on a tidal wave... together


C Bb D
You and me are drifting into outer space
and singing






F D7/F# F D7/F#
Ooo ohh, ooo ohh






C Bb D
You and me are floating on a tidal wave... together


C Bb D
you and me are drifting into outer space






C Bb D
You and me are floating on a tidal wave... together


C Bb D
You and me are drifting into outer space and singing






F D7/F# F D7/F#
Ooo ohh, ooo ohh


F D7/F# F D7/F#
Ooo ohh, ooo ohh

Scorpion - Holiday, Guitar chords with lerycs

Dm


Let me take you far away


C A Dm
You'd like a holiday


Dm
Let me take you far away


C A Dm
You'd like a holiday






C Dm
Exchange the cold days for the sun


G A
Good times and fun


Dm
Let me take you far away


C A Dm Dm7 Dm6 A4 A'
You'd like a holiday






Dm
Let me take you far away


C A Dm
You'd like a holiday


Dm
Let me take you far away


C A Dm
You'd like a holiday


C Dm
Exchange your troubles for some love


G A
Wherever you are


Dm
Let me take you far away


C A Dm Dm7 Dm6 A4 A'
You'd like a holiday






Dm
Longing for the sun you will come


C Bb
To the island without name


Dm
Longing for the sun be welcome


C Bb Dm
On the island many miles away from home


C Bb
Be welcome on the island without name


Dm
Longing for the sun you will come


C Bb Dm C Bb
To the island many miles away from home.










Chord fingerings:




EADGbe EADGbe EADGbe EADGbe EADGbe EADGbe


Dm X00231 C X32010 A 002220 G 320003 Dm7 X30231 Dm6 X10231






EADGbe EADGbe EADGbe


A4 002230 A' 002255 Bb 113331














SOLO




/ means slide
b means
bend
Sus means sustain the note






e:------------------------------------------------------5---3---------------
B:--------------------------------3-3--5-6-3---5-6-5------------5-6-5--3---G:----------2-----------------2-------------------------------------------2-
D:-----3---------5-2---5--3-5-----------------------------------------------
A:5-------------------------------------------------------------------------
E:--------------------------------------------------------------------------










*






e:---------------------------------------------------------------3-4b(5)Sus-
B:5-6-3-5---6-5-3------------------------------------3----3-5-6-------------
G:----------------2-------------1/2--------1/2-----2---2--------------------
D:---------------------2-3-5---------5--3-----------------------------------
A:----------------------------------------------5---------------------------
E:--------------------------------------------------------------------------

Scorpion - Wind of Change, Guitar chords with Lerycs

C G Dm C


I f ollow the Mosk va do wn to Gorky Pa rk


C G F G
List ening to the w ind of ch a------ nge
An August summer night, Soldiers passing by
Listening to the wind of change


The world is closing in, did you ever think
That we could be so close, like brothers
The future's in the air, I can feel it everywhere
Blowing with the wind of change






C G Dm G C G
T ake m e to the m agic of the m oment on a gl ory ni ght
Dm G C G
Where the childr en of tomorro w dream awa y - In the wind of cha nge






Walking down the street, distant memories
Are buried in the past forever
I follow the Moskva down to Gorky Park
Listening to the wind of change




Take me to the magic of the moment on a glory night
Where the children of tomorrow share their dreams - With you and me
Take me to the magic of the moment on a glory night
Where the children of tomorrow dream away - In the wind of change






Am Dm Am
The w ind of change blows st raight into the face of t ime
Dm Am
Like a stormwind that will ring the freedom bell for peace of m ind
Dm                    E
Let your balalaika s ing what my guitar want to s ay


2nd Chorus

MLTR - Someday, Guitar Chords with Lerycs

Bm...............G
in my search for freedom

G..............Bm
and peace of mind


G.....................A
i left the memories behind


Bm..................G
wanna start a new life


G..........................A
but it seems to be rather absurd






Bm............
wen i know the truth


G......................D
is that i always think of u


D..............A
someday someway


.................G
together we wud b baby


Bm...............G
i'll take, n u take ur time




D.................A
we'l wait for our fate


A.....................G
coz nobody owns us baby


Bm...........
we can shake


Bm.............G
we can shake the rock




try to throw the picture
out oof my mind
tried to leave the memories behind
here by the ocean
waves carry voices from u
do u know the truth
i.m thinkin of u too


someday....




the love had together
just fades away in time
n now u've got ur own world
n i guess i've got mine
but the passion that u planted
in the middle of my heart
is the passion that will never stop






solo


someday someway
together we'd be baby
i'l take n u take ur time
we'l wait for our fate
coz nobody owns us baby
we can shake
we can shake the rock


...-=-=-=-=-=-=-=-=-=-=-=-=-...

Cat Purr

With this technique, a pitch is held for a beat, and then raised up a tone. The lever is moved slowly, and once you reach the upper or lower tone, you immediately hold, and then reverse direction. This results in a sound that can sounds




remarkably like a cat.

Dipping

Dipping is a technique that allows you to make note changes a little more interesting. Before you change to a higher note, use the bar to quickly lower and then raise the pitch.

Dive Bomb

A Dive Bomb may be achieved by striking a natural harmonic then lowering the tone. An "explosion" may added by keeping the bar pressed down and flicking the low E string repeatedly.




Also, there is an alternative way to do a dive bomb, by flicking a string, dipping the bar down, tapping a harmonic, then manipulating the resulting note however you want. This technique is also known as a "Squeal", or "Dime Squeal"




named after Pantera guitarist, Dimebag Darrel.

Guitar/Vibrato Bar Techniques, (Tremolo bar, or whammy bar, or Vibrato bar.)

The tremolo bar was originally only found on Fender guitars, but now they are on many types of electric guitar. Unfortunately, it has an inappropriate name, because "tremolo" means a fast succession of two different tones. A more accurate but less common name is the vibrato bar, and they are also known as whammy bars.




In general, it is good to learn to hold the tremolo bar between your third and fourth fingers, so you can use the bar and hold a pick at the same time.


This section will provide a description of how to accomplish various techniques, but it will be up to the guitarist to discover how to perform them.

Other techniques (Harp Harmonic)

A final technique (known as the harp harmonic) is a sort of combination between the natural and tapped harmonic techniques. Fret the note normally, and place the picking hand index finger on a natural harmonic relative to the fretted note (just as in tapped harmonics). Pluck the string with another finger and release the index finger, just as if producing a natural harmonic.

Tapped harmonics

This technique, like tapping itself, was popularized by Eddie van Halen. Tapped harmonics are an extension of the tapping technique. The note is fretted as usual, but instead of striking the string, the string is tapped at one of the frets listed in the natural harmonic list. Do not hold the string down with the tapping hand, just bounce the finger lightly on and off the fret. This technique can be extended by fretting a note, then tapping relative to the fretted note. For instance, hold the third fret, and tap the fifteenth fret, for the twelfth fret harmonic, because 12+3=15.

Pinch harmonics

A.K.A. Artificial Harmonics (though there is really nothing artificial about them). This is an advanced technique and was popularized by Billy Gibbons and many others as early as the 1970s including many Heavy Metal artists. These harmonics follow the same principles of physics as a natural harmonic, the difference being how the harmonic is produced. In this case a note is struck in a downwards motion with the pick and in the same motion the string is touched (one might really say brushed) with the edge of the thumb that is holding the pick. Or one can do it with the edge of the index fingernail, followed by the pick.




Pinch harmonics are most effective and audible using an electric guitar with overdrive or distortion and in some cases these harmonics are virtually inaudible using a clean (not distorted or overdriven) electric guitar or an acoustic. It can sound good when used properly even without much overdrive but it's not always clear or detectible. Use overdrive or distortion for best results especially while learning and practicing this technique.


With regards to difficulty: this technique, although rewarding, is mostly rewarding only in advanced situations (soloing and intense expressive riffing). It is difficult enough to easily frustrate a beginner and some intermediate players and since there are so many more rewarding and useful techniques worth spending time on as a beginner (scales, soloing, blues, riffing, strumming patterns), this technique is only recommended for intermediate or advanced players.


As mentioned above, these harmonics are produced by striking a note with the pick and touching the string with the picking thumb. Grip the pick so that the tip barely peeks out between your fingertips (this is why they are called "pinch" harmonics). It's easier when you are fretting a note with the left hand so try fretting a note (perhaps the 5th fret on the 4th(D) string), and plucking the string just below the neck pickup pole pieces (maybe 1/8" toward the bridge from the pole pieces). With luck the artificial harmonic will ring, but if not don't despair.


The position of the plucking along the length of the string is one of the most important parts of this technique. While with regular picking the position of the picking along the string can make slight variations in the sound of the note, when executing pinch harmonics the right position is vital and tiny positional differences can make entirely different harmonics. So try adjusting the picking hand just millimeters up and down the string around the area of the pickups.


Try imagining the pick and your picking thumb plucking the string at the same time although the thumb is really just brushing past it. Consider it to be really one motion. Try thinking of your thumb and the pick as one entity and instead of picking straight down, pick down and a little bit (millimeters) out away from the face of the guitar so your picking motion is a sort of 'letter J' out from the face of the guitar and so the thumb brushes past the string and remember that the thumb should only touch the string for an instant just like the pick does.


This technique requires practice. Try executing pinch harmonics while fretting different notes and by striking the string in slightly different places all around the pickup area of the guitar. Many kinds of harmonic ringing sounds may be produced.


Without a pick, this technique may be simulated by plucking the string with the fingertip and lightly touching it with the fingernail, but this is even trickier and not very useful in practice.


These harmonics, as opposed to natural harmonics, end up being much more practical to use while playing and when mastered can be used boldly like Zakk Wylde making the harmonic part of the riff, or subtly and possibly unintentionally to add color and character to the notes or chords while playing almost anything.


Pinch harmonics can easily and effectively be combined with other techniques, such as bending or vibrato.

Natural harmonics

Natural harmonics are the easiest to produce. A good place to begin is the 12th fret of the first string. With your fretting hand, lightly touch the finger against the string directly above the 12th fret. Do not hold it down, just touch it. Then strike it with your picking hand, and immediately release the string with your fretting hand. If executed properly, the result should be a high-pitched, ringing E (on a standard tuned guitar). It will be the same note as pressing against the fret will produce. Try it again at the 7th, 5th, and 4th frets, as in the list of natural harmonics: each will produce even higher sounds, much higher than can be produced on the guitar without using harmonics! However, each will also be quieter, so the higher harmonics may be nearly inaudible without overdrive.

Guitar/Harmonics

Harmonics are fun sounds to produce. They can be quiet and bell-like, as on an acoustic guitar, or they can be loud and squealy, as on an overdriven electric guitar.

Vibrato

Players of many instruments, including the human voice, use vibrato to help add expression to sustained notes. Vibrato is performed in two major ways, the first by rapidly bending the string back and forth, causing a modulation in pitch;






therefore, all of the information above about bending applies here, except it is performed faster or more prolonged. Or it can be performed in a 'classical' style where one applies pressure parallel to the string towards the neck then towards




the bridge repeatedly, which allows one to achieve vibrato upward and downward in pitch, albeit with a smaller change. A small, subtle vibrato might not require the assistance of other fingers; the fretting finger should be sufficient.




However, for sustained vibrato or vibrato on the first or second frets, using multiple fingers for bending is a good idea.

Bend and Release

The ideas of bending and pre-bending can be combined for a "bend and release", that is, striking a note, bending it up, then releasing it as you would with a pre-bend. This will often be perceived as a "bounce" in pitch, especially if played






quickly. The reverse is also possible: pre-bend, release, and bend. Repeatedly and steadily bending and releasing is called vibrato.

Pre-bending

Bending, whether by pushing or pulling the string, raises the tension in the vibrating portion of the string, and thus always raises the pitch of the note. This means it is easier to slide up rather than down in pitch. To create the impression of




bending down, the guitarist uses a technique called pre-bending, that is, bending before the string is struck, then releasing the bend (either gradually or quickly, depending on the intended effect).

Bending

Bending is exactly as it sounds: bending the string to the side by pushing it (towards the sixth string) or pulling it (towards the first string), often while a fretted note is ringing. The first three strings are normally pushed, and the others are


normally pulled. This is particularly important on the first and sixth strings, as you do not want the string to fall off the fretboard. Whether the string is pushed or pulled, the note will be raised in pitch.


Many aspiring guitarists cannot bend properly. The sound of a bend is more important than how it is actually executed or how it looks, but a bad bending technique usually leads to a bad sound. Your favorite guitarist might bend using just


his or her fingertips and you might be inclined to copy this — don't! Your hands can sound every bit as good as your hero's without copying his or her technique. There are two keys to bending properly: proper thumb positioning, and


bending with the proper muscles. Do not keep your thumb behind the neck, where it usually is, but bring it up perpendicular to the neck (a position that is normally incorrect, but not in the case of bending). Keep the fingers firm. Do not bend


your fingers, but push or pull with your forearm. You will hardly see your forearm move, possibly just see a couple of muscles flex. It will feel awkward at first, but if you can bend with the thumb in the proper position and without bending


the fingers, you are probably doing it correctly.


Many guitarists will have trouble bending more than 1/4 step (half a semitone) or perhaps 1/2 step (one semitone) with only one finger, especially on frets close to the nut and on the thinner strings. It is much easier to bend with more than


one finger, for instance, with the index finger on the first or second fret and the ring finger on the third, and pushing or pulling with both fingers in order to bend at the third fret. More fingers may be used if this is not enough. It should be


possible to bend at least a full step (the pitch difference of two frets) this way.

Bending and vibrato

Bending and vibrato are two related effects which help give extra "life" to notes, especially sustained notes, by changing their pitch. The techniques are not commonly used on the acoustic guitar or general rhythm playing. However, they


are extremely important to many styles involving distorted guitar, e.g., rock or metal, even when playing rhythm (though, in that case, bends and vibratos are usually embellishments). Bending or an equivalent effect is not possible on all


instruments; the piano, for example, cannot have notes that change in pitch. This is one reason why it is important to know how to bend: because you can!


This section deals with bending and vibrato using your fingers, not the different technique of using the vibrato bar. The two techniques do the same basic thing, but using the vibrato bar as a substitute for fretting-hand bending is not good


practice; it is best used for very heavy bends or heavy vibratos, not slight embellishments like finger bending. It is more difficult to be subtle with a vibrato bar, and it is usually a bit out of the way for the picking hand to reach, making it


harder to use. In short, while in some cases which style of bending or vibrato is used is a matter of taste, the two techniques are not interchangeable and are used for different effects.

The trill

A trill is two alternating notes, such as an A and A#. Only the first note is struck; the rest are rapidly hammered-on and pulled off

The pull-off

The pull-off is the opposite of the hammer-on. Again, using the E string, hold it at the third fret. Strike the string and while the note is still ringing, release the fretting finger. If done properly, the G should be followed by an open E. If the note doesn't ring out properly, try hitting the G harder and releasing faster.


Like the hammer-on, the second note tends to be less loud than the first. To help alleviate this, a slight sideways motion of the fretting finger while pulling off will add extra vibration to the string, and give you some extra volume. Often it is hard for a beginner to accomplish, and the sideways movement helps greatly.


A pull-off looks like this:


D---7p5--5p4--4p2--2p0--

Pull-offs, and Trills

Hammer-ons can be done anywhere on the fretboard, but for the beginner it is easiest using an open string. To quickly learn, strike an open E on the first string. While the note is still ringing, quickly and firmly press a finger on the third fret. If done properly, a G note should be sounding.


Quickly pressing your finger down and raising the note without hitting the string again is called "hammering on". Without electric amplification, the hammer-on tends to be quieter than regularly struck notes, especially if you haven't practiced it! Because the strings are closer to the fretboard, hammer-ons are easier to execute on an electric guitar. However, this doesn't make them less common on an acoustic guitar, where they are used frequently to embellish open chords


The hammer-on can just as easily be played with fretted notes: just play the note normally and hammer onto another (higher-numbered) fret on the same string. If you practice hammer-ons, eventually you will be able to move each finger smoothly and independently.


The hammer-on can just as easily be played with fretted notes: just play the note normally and hammer onto another (higher-numbered) fret on the same string. If you practice hammer-ons, eventually you will be able to move each finger smoothly and independently.

Guitar- Hammer-ons, Pull-offs, and Trills

Hammer-ons and pull-offs are two closely related techiues. They are used to play legato, that is, in a smooth manner, and are also used to help the guitarist to play faster. They are most commonly used in electric guitar work, but can be used in acoustic tones as embellishments.

guitar- slides

The slide is one of the simplest guitar techniques. There are two kinds of slides: shift slides and legato slides. In a shift slide, a note is fretted, then the fretting finger slides up or down to a different fret, and the string is struck again. A legato slide differs in that the string is struck only for the first note.

Sweep picking

Sweep picking is a more specialized technique, occurring most often in metal. It involves playing a fast arpeggio with a special technique: when switching from one string to the next, mute the note currently ringing by lifting the fretting finger. A sweep can become a rake if notes are muted incorrectly. Rakes can sound nice, but they are not sweeps. Remember only 1 note can ring out at a time or it won't sound good. It takes practice and it helps to start slow and build up speed.

arpeggio

The word arpeggio (ar-peh-jee-oh) is Italian for, roughly, "like a harp", as it is a common technique for playing chords on the harp. To play an arpeggiated chord on the guitar, simply strum or pick the chord slowly, one string at a time, such that the ringing of each string is distinct. Arpeggios occur in all kinds of music, from classical to metal.

Guitar/Chord Types

A chord is three or more different notes played simultaneously. Chords derive their name from the root note. The interval relationship between the root note and the other notes determine whether it is a major, minor, augmented or diminished


chord. Chords may be strummed in entirety or the notes picked individually. Beginners find strumming much easier. The more advanced technique of picking is examined in the Picking and Plucking chapter. Power chords are intervals

because they consist of only two notes but they are usually treated as chords when described.


While chords are primarily used for rhythm guitar, basic chord knowledge is important for lead playing as well. The lead parts of many songs often require the use of chords, and in certain styles of playing, chords can make up the lead part


entirely. Additionally, many lead patterns revolve around arpeggios, which are chords with their notes played in sequence, rather than together. For more information on arpeggios, see the Arpeggio and Sweep Picking.


Chords are easy to play, but to understand why they sound how they do and why certain chords work better together than others, it is important to understand scales. While it is not necessary to have prior knowledge of scales to find this section useful, prior understanding of scales will definitely improve one's understanding of chords. It is recommended that before reading this section, one should familiarise themselves with general music theory first.


There are two main ways of playing chords, using open chords, which are the fundamental and often easiest chords for the guitar. Learning these chords is important, because it sets the stage for learning all other chords. Barre Chords are chords you make while pressing all (or most) of the strings down with your first finger. Barre chords are special, because they can be moved up and down the neck of the guitar, and the shape of the chord remains the same, although all the notes change. Barring is an important technique and greatly opens up the depth of the instrument.