Topic: The Guitar Playing Thread (technique, tab, practice, etc.) (Read 12135 times)

atimholt · « **on:** 27 Mar 2009, 13:36 »

So, I don't know how much of a right, per se, I have to start a thread like this: I've got so small a post count and I've started a couple other failed threads before.
But my intentions for this thread are entirely different from the awesomeness that is the Guitar Topic thread.
In short, I thought it might be cool to have a thread where everyone could put their 2 cents regarding technique, practice, cool licks and riffs--make those awesome stringy things more than a wall decoration, all that.
We might, perhaps, link to really good tab websites (I hate ascii tab for full songs. They're never accurate). Or we might post finger exercises. Or we could post links to ourselves playing a particular song that others here could also learn to play.
To start this off with a bang, I'll post the single finger exercise which has most increased my left hand dexterity (granted, I haven't been playing long, but...). This comes from the March/April Issue of Guitar Edge magazine (on p.16), as given to them by George Lynch as a speed exercise.
e|-------------------------------------|---10-12-14/15--||
B|--------------------------------10-12|14--------------||
G|----------------------7-9-11/12------|----------------||
D|---------------7-9-11----------------|----------------||
A|------5-7-9/10-----------------------|----------------||
E|5-7-9--------------------------------|----------------||
Every note is a 1/16th, including slid notes.
The most important thing about this exercise is that you don't use your first finger. It's all '2-3-4, 2-3-4-slide4th.
Of course, I've got relatively large hands. But playing this has magically made playing everything else absolutely simple.

And now this thread is worth it, I hope, even if this is the only post in it.

Patrick · « **Reply #1 on:** 27 Mar 2009, 18:05 »

Man, I need to practice that basically every day. My pinky is kindof the bastard child of the family when it comes to my hand.

I kindof like the idea of this thread just so long as it doesn't get clogged with nothing but shred tabs/videos/tips. If I wanted that I'd just watch videos of Michael Angelo Batio on YouTube.

Thrillho · « **Reply #2 on:** 27 Mar 2009, 18:39 »

And you'd learn nothing.

Noff · « **Reply #3 on:** 27 Mar 2009, 23:28 »

I've never understood the point of those exercises. Why not just practice scales, they have the same benefits but also help train your ear and allow you to write riffs and solos.

ledhendrix · « **Reply #4 on:** 28 Mar 2009, 01:50 »

My guitar teacher gave me a bunch of speed exercises to do and they really do help. Scales are all good and well but these things do help with getting your left hand up to speed.

This thread is a good idea.

billiumbean · « **Reply #5 on:** 28 Mar 2009, 05:55 »

The Mixolydian scale is my favorite so far. At pattern 0 in the C chord progression, it goes a little like this:

e | ------------------------------0-1-3-- | B | --------------------------1-3-------- | G | --------------------0-2-3------------ | D | --------------0-2-3------------------ | A | --------0-1-3------------------------ | E | --0-1-3------------------------------ |

ledhendrix · « **Reply #6 on:** 28 Mar 2009, 06:12 »

This was an exercise I was taught to help train your fingers. It repeats but the next time it goes round it starts 2-1-3-4, 2-1-4-3 then next time 3-1-2-4 etc.

e | ----------------------------------------------------------1-4-3-2-- |
B | -----------------------------------------------1-4-2-3------------- |
G | ------------------------------------1-3-4-2------------------------ |
D | -------------------------1-3-2-4----------------------------------- |
A | --------------1-2-4-3---------------------------------------------- |
E | ---1-2-3-4----------------------------------------------------------|

A Wet Helmet · « **Reply #7 on:** 28 Mar 2009, 07:00 »

Here's one of my practice tricks--

To the greatest extent possible (meaning I certainly wouldn't be able to practice, say, shred techniques or much that has a lot of notes above fret 15) I try to learn and practice everything on a big old clunky accoustic--and I finger pick it.

I find that once I can play something with a fair degree of competency that way, moving to one of my electrics makes it SOOOO easy play. My playing ability has improved tremendously since I put the picks down. To the point that sometimes I feel hindered when I use one.

Thrillho · « **Reply #8 on:** 28 Mar 2009, 09:14 »

Learning everything on acoustic = win. Makes your hands SO much stronger.

Nodaisho · « **Reply #9 on:** 28 Mar 2009, 23:39 »

Is that from string weight, or some other factor? I'm asking because I currently have 11s on my LP (and no, I haven't gotten tired of saying "these strings go to eleven"), so I'm wondering how much additional benefit there would be to using the acoustic with 12s on it.

Spluff · « **Reply #10 on:** 29 Mar 2009, 00:41 »

There's no real benefit - get used to the thickness you plan on using. Having extra finger strength won't make you a better player. It only takes a little while for your hands to adjust to a different gauge of strings, anyway.

billiumbean · « **Reply #11 on:** 29 Mar 2009, 00:45 »

Actually, hand strength dictates how quickly you warm up. The stronger the hands, the quicker you'll get to gig-caliber playing.

Thrillho · « **Reply #12 on:** 29 Mar 2009, 04:20 »

Also gives you stronger bends. If you can bend by a tone on acoustic, you can bend even further on electric.

Patrick · « **Reply #13 on:** 29 Mar 2009, 07:44 »

The thing about trying to bend on an acoustic is that the G string is normally wound, and a wound G is fucking IMPOSSIBLE to bend a whole step. I have tested this, this is Fact.

Johnny C · « **Reply #14 on:** 29 Mar 2009, 10:50 »

It's always weird with these threads and conversations because you don't know what other people know. For example, as far as bends go, if you're trying to do a really hard bend or you just don't have a lot of finger strength, a good trick is to use all your fingers in the bend and just push the heck out of it! Easy huge bends all the dang time! But maybe you know this already, and I'm beating a dead horse!

Or maybe you already know all the notes on the neck, and you know how easy that makes it to just pick stuff up by ear and futz with interesting chords and improvise really well and fit into other people's songs! I don't know!

Patrick · « **Reply #15 on:** 29 Mar 2009, 14:38 »

The thing about that is that sometimes you want to bend your way into a chord, and so that's not always an option.

David_Dovey · « **Reply #16 on:** 29 Mar 2009, 18:46 »

|-------------II-----------------|
|----E------I--I-----------------|
|--H------M---II----------------|
|-T------S-------TH-------------|
|--------------------S-----------|

ptownblazer · « **Reply #17 on:** 03 Apr 2009, 19:33 »

Quote from: billiumbean on 28 Mar 2009, 05:55

The Mixolydian scale is my favorite so far. At pattern 0 in the C chord progression, it goes a little like this:

e | ------------------------------0-1-3-- | B | --------------------------1-3-------- | G | --------------------0-2-3------------ | D | --------------0-2-3------------------ | A | --------0-1-3------------------------ | E | --0-1-3------------------------------ |

right. what you wrote is essentially correct, though a little confusing. actually what you wrote out above is more recognizable as the "locrian" mode - or locrian scale. all you've really done here is tab an f-major scale, starting with the seventh ('E' of course). this is the definition of locrian mode. locrian mode is just playing a major scale, but starting on the seventh degree of the scale (in this case E, which is the 7th of F). just for fun, here is what an F major scale looks like tabbed out, notice the similarity:
e---------------------------0-1----------- B-----------------------1-3--------------- G-----------------0-2-3------------------------ D-----------0-2-3-------------------------- A-----0-1-3------------------------------------- E-1-3------------------------------
the reason you have tabbed an F-major scale is because you've applied the mixolydian pattern starting on the note 'C', although we don't actually play the note 'C' to start. playing mixolydian mode means you are playing a major scale but just starting on the 5th degree of that scale. C is the fifth of F, hence the F major scale! if you play the mixolydian pattern starting on D for example, or as you put it, in the D chord progression, you are actually just playing a G major scale starting on 5th degree, which is D. confused? I will attempt to paint a clearer picture - these patterns are invaluable to any guitar player. Learn them!

Using the key G here for simplicity. This can all be applied to any scale of course. First the list: Ionian (or 1st degree), Dorian (2nd degree), Phrygian (3rd degree), Lydian (4th degree), Mixolydian (5th degree), Aeolian (6th degree), and Locrian (7th degree)

****** I proceed to go through every degree of the G-major scale here on up neck - skip to the end of the post for a great (I think so anyway!) visual representation of the patterns for each mode. Again, invaluable shit for any guitar player

Ionian is just a G major scale, played from the root, or 1st note, the pattern looks like this - duh, right? If it's not "duh" for you, it should be in very, very soon. Learn it! We're talking "Do Ra Mi Fa So La Ti Do" shit here.
e---------------------------2-3- B-----------------------3-5----- G-----------------2-4-5--------- D-----------2-4-5--------------- A-----2-3-5--------------------- E-3-5---------------------------

essentially, dorian mode then (2nd degree), would be g major scale played starting on the second degree of the scale, the 'a' (5th fret on the low E string), but sticking with the same notes of the g major scale - it gives it a different flavor. you could just start on the second note of the g major scale and play that same ionian pattern, but that's not as useful as learning the pattern all the way across the fret-board, starting on the E string.

e-------------------------------*5-7-8- B-------------------------5-7-8------- G-------------------4-5-7------------- D------------4-5-*7------------------- A--------5-7------------------------- E-*5-7-8-----------------------------

then comes phrygian, which here is a g major scale starting on the 3rd degree of the scale the 'b' (for our purposes the 7th fret on the low E string). again, you could just play the ionian pattern, starting on the 3rd degree (second fret on the A string) but it's more helpful to learn the pattern all the way across the fret-board, starting on the E string. this one sounds nice, very "middle-eastern" if you will. it looks like this

e----------------------------------*7-8-10-- B---------------------------7-8-10---------- G------------------------7-9---------------- D----------------7-*9-10----------------- A---------7-9-10------------------------- E-*7-8-10-----------------------------

the important thing to learn is the pattern, as much as anything else. strange though right? it's just a g-major scale, but starting the scale on the 3rd degree gives it a completely different flavor.
think about this: if you were to play that exact same pattern starting on the 9th fret of the E string (C#), you would actually just be playing an A-major scale - starting on the 3rd degree of course . . . because C# is the 3rd (degree) of A. whenever you play this pattern, you are actually just starting on the 3rd degree of the major scale. if you start this pattern on 3rd fret of the E string, a 'G' of course, then you are actually playing in E-flat major, starting on the 3rd degree of course, because G is the 3rd E-flat. This logic can be applied to every mode as you will see here.

then comes lydian, which here is a g major scale starting on the 4th degree of the scale the 'c' (for our purposes the 8th fret on the low E string). again, you could just play the ionian pattern, starting on the 4th degree (third fret on the A string) but it's more helpful to learn the pattern all the way across the fret-board, starting on the E string.

notice the similarity in the pattern here with the phrygian pattern. just start playing the phrygian pattern on the 4th degree of the g major scale ('C' or 8th fret on the E string) instead of the 3rd degree of the g major scale ('b' or the 7th fret)

e---------------------------------7-*8-10-- B--------------------------7-8-10---------- G-----------------------7-9---------------- D---------------7-9-*10----------------- A--------7-9-10------------------------- E--*8-10-----------------------------
the phrygian mode and lydian mode are very similar patterns, just start on the 8th fret instead of the 7th, otherwise the pattern is identical. neat right?

then comes mixolydian, which here is a g major scale starting on the 5th degree of the scale the 'd' (for our purposes the 10th fret on the low E string). again, you could just play the ionian pattern, starting on the 5th degree (5th fret on the A string) but it's more helpful to learn the pattern all the way across the fret-board, starting on the E string.

e------------------------------------------*10-12- B---------------------------------10-12-13-------- G-------------------------9-11-12----------------- D----------------9-10-*12------------------------- A--------9-10-12---------------------------------- E-*10-12------------------------------------------

then comes aeolian, which here is a g major scale starting on the 6th degree of the scale the 'E' (for our purposes the 12th fret on the low E string). again, you could just play the ionian pattern, starting on the 6th degree (2nd fret on the D string) but it's more helpful to learn the pattern all the way across the fret-board, starting on the E string. i like this one alot. perfect soloing when there is a minor chord being played.

e---------------------------------------------*12-14-15- B------------------------------------12-13-15----------- G---------------------------11-12-14-------------------- D--------------------12-*14----------------------------- A-----------12-14-15------------------------------------ E-*12-14-15---------------------------------------------

now, we already saw an example of locrian above with the poster I quoted above. just for continuities sake i will post the locrian mode here, which will be a g-major scale starting on the 7th degree of the scale 'F#' (for our purposes, 14th fret on the low E string)

e---------------------------------------------*14-15-17- B---------------------------------------15-17----------- G------------------------------14-16-17----------------- D--------------------14-*16-17-------------------------- A-----------14-15-17------------------------------------ E-*14-15-17---------------------------------------------

Again, these patterns are invaluable and every guitar player should know these.

**************************************************************************************

Here they are again in very simple to see "patterns"

Ionian (1st degree):
e---| x | x |   |   |   |------------------- B---|   | x |   | x |   |------------------- G---| x |   | x | x |   |------------------- D---| x |   | x | x |   |------------------- A---| x | x |   | x |   |------------------- E---|   | x |   | x |   |-------------------

Dorian (2nd degree):
e---|   | x |   | x | x |------------------- B---|   | x |   | x | x |------------------- G---| x | x |   | x |   |------------------- D---| x | x |   | x |   |------------------- A---|   | x |   | x |   |------------------- E---|   | x |   | x | x |-------------------

Phrygian (3rd degree):
e---|   | x | x |   | x |------------------- B---|   | x | x |   | x |------------------- G---|   | x |   | x |   |------------------- D---|   | x |   | x | x |------------------- A---|   | x |   | x | x |------------------- E---|   | x | x |   | x |-------------------

Lydian (4th degree):
e---|   | x | x |   | x |------------------- B---|   | x | x |   | x |------------------- G---|   | x |   | x |   |------------------- D---|   | x |   | x | x |------------------- A---|   | x |   | x | x |------------------- E---|   |   | x |   | x |-------------------

Mixolydian (5th degree):
e---|   | x |   | x |   |------------------- B---|   | x |   | x | x |------------------- G---| x |   | x | x |   |------------------- D---| x | x |   | x |   |------------------- A---| x | x |   | x |   |------------------- E---|   | x |   | x |   |-------------------

Aeolian (6th degree):
e---|   | x |   | x | x |------------------- B---|   | x | x |   | x |------------------- G---| x | x |   | x |   |------------------- D---|   | x |   | x |   |------------------- A---|   | x |   | x | x |------------------- E---|   | x |   | x | x |-------------------

Locrian (7th degree):
e---| x | x |   | x |   |------------------- B---|   | x |   | x |   |------------------- G---| x |   | x | x |   |------------------- D---| x |   | x | x |   |------------------- A---| x | x |   | x |   |------------------- E---| x | x |   | x |   |-------------------

*************************************************************************************
Phew. That took way longer than I anticipated. I guess it was good for me, I hope somebody finds this useful.

As a post-script, here are the pentatonic and blues scale patterns:

Pentatonic:
e---| x | | | x | |------------------- B---| x | | | x | |------------------- G---| x | | x | | |------------------- D---| x | | x | | |------------------- A---| x | | x | | |------------------- E---| x | | | x | |-------------------

Blues scale:
e---| x |   |   | x |   |------------------- B---| x |   |   | x |   |------------------- G---| x |   | x | x |   |------------------- D---| x |   | x |   |   |------------------- A---| x | x | x |   |   |------------------- E---| x |   |   | x |   |-------------------

Notice how similar these are - the blues scale just has 2 extra notes, half-steps, that funk it up a bit, and is essentially just a derivative of the pentatonic scale.

Notice how much the pentatonic scale mirrors the aeolian mode. You can think of it as a very close relative of the aeolian mode . . . very close, like incest close. I will show how each degree of the pentatonic scale, though not officially named, has an incestuous relationship with a particular mode, or scale.

Here is the pentatonic in the 2nd degree (playing the pentatonic scale but just starting from the second note of the pentatonic scale, which is a minor 3rd)- notice it is very similar to the Ionian mode and actually works for soloing over major chords.

e---|   | x |   | x |   |------------------- B---|   | x |   | x |   |------------------- G---| x |   | x |   |   |------------------- D---| x |   |   | x |   |------------------- A---| x |   |   | x |   |------------------- E---|   | x |   | x |   |-------------------

And the blues scale in the 2nd degree (again exactly the same as the pentatonic, but with 2 extra half-steps that give it a little bit of extra "flavor")

e---|   | x |   | x |   |------------------- B---|   | x |   | x |   |------------------- G---| x | x | x |   |   |------------------- D---| x |   |   | x |   |------------------- A---| x |   |   | x |   |------------------- E---|   | x |   | x | x |-------------------

Here is the pentatonic scale in the 3rd degree - notice the similarities to the Dorian mode:

e---|   | x |   | x |   |------------------- B---|   | x |   |   | x |------------------- G---| x |   |   | x |   |------------------- D---|   | x |   | x |   |------------------- A---|   | x |   | x |   |------------------- E---|   | x |   | x | |-------------------

Blues scale in the 3rd degree - again, the same as pentatonic with those same two "extra" notes:
e---|   | x |   | x |   |------------------- B---|   | x |   |   | x |------------------- G---| x |   |   | x |   |------------------- D---|   | x |   | x | x |------------------- A---|   | x |   | x |   |------------------- E---|   | x | x | x |   |-------------------

Pentatonic in the 4th degree - notice the similarities to the phrygian mode:

e---|   | x |   |   | x |------------------- B---|   |   | x |   | x |------------------- G---|   | x |   | x |   |------------------- D---|   | x |   | x |   |------------------- A---|   | x |   |   | x |------------------- E---|   | x |   |   | x |-------------------

Blues scale in the 4th degree:
e---| x |   |   | x |   |------------------- B---|   | x |   | x | x |------------------- G---| x |   | x |   |   |------------------- D---| x | x | x |   |   |------------------- A---| x |   |   | x |   |------------------- E---| x |   |   | x |   |-------------------

Pentatonic in the 5th degree - notice the similarities to the mixolydian mode:

e---|   | x |   | x |   |------------------- B---|   | x |   | x |   |------------------- G---| x |   |   | x |   |------------------- D---| x |   |   | x |   |------------------- A---|   | x |   | x |   |------------------- E---|   | x |   | x |   |-------------------

Blues scale in the 5th degree:

e---|   | x |   | x |   |------------------- B---|   | x | x | x |   |------------------- G---| x |   |   | x |   |------------------- D---| x |   |   | x |   |------------------- A---|   | x |   | x | x |------------------- E---|   | x |   | x |   |-------------------

Of course there are only five modes because there only 5 different notes in the pentatonic scale - and the blues scale is just a derivative of the pentatonic scale with those "flavor" notes thrown in.

OK, now I think I'm done. Sorry for the monster post. This is good shit though, I promise.

Nodaisho · « **Reply #18 on:** 03 Apr 2009, 19:48 »

Quote from: Johnny C on 29 Mar 2009, 10:50

For example, as far as bends go, if you're trying to do a really hard bend or you just don't have a lot of finger strength, a good trick is to use all your fingers in the bend and just push the heck out of it! Easy huge bends all the dang time! But maybe you know this already, and I'm beating a dead horse!

I actually just learned that a couple weeks ago, when I was trying to do some vibrato bending on a note that I had to finger with my ring finger. Another finger made it a lot easier.

ptownblazer · « **Reply #19 on:** 03 Apr 2009, 21:48 »

Quote from: ledhendrix on 28 Mar 2009, 06:12

This was an exercise I was taught to help train your fingers. It repeats but the next time it goes round it starts 2-1-3-4, 2-1-4-3 then next time 3-1-2-4 etc.

e | ----------------------------------------------------------1-4-3-2-- |
B | -----------------------------------------------1-4-2-3------------- |
G | ------------------------------------1-3-4-2------------------------ |
D | -------------------------1-3-2-4----------------------------------- |
A | --------------1-2-4-3---------------------------------------------- |
E | ---1-2-3-4----------------------------------------------------------|

This is fantastic stuff right here. So much of "learning" the guitar - if you actually want to improve anyway - is rote drills and repetition. I love that kind of stuff, I'm weird, and this drill is absolutely priceless if you want get absolute control over your left hand fingers (assuming your not Hendrix or Cobain or something) so that they can operate autonomously, independent and completely separate from each other, each with a "mind of their own" if you will. Great exercise.

Harun · « **Reply #20 on:** 04 Apr 2009, 15:40 »

Metronomes are a guitar player's best friend. I can't tell you how many times I've seen otherwise talented players who can't keep time. Not only does it make them sound sloppy, but it also really holds them back. One of the first things I taught myself was the ability to play at different speeds in tempo. Use a metronome when practicing scales/exercises, improvising, recording, rehearsing, writing songs... The only time I would not use a metronome is when playing live. Just make sure you have a drummer who can keep time/tempo.

here's a good online one. Traditional metronomes are okay, but they aren't as reliable as digital ones.

ptownblazer · « **Reply #21 on:** 04 Apr 2009, 16:23 »

Quote from: Harun on 04 Apr 2009, 15:40

Metronomes are a guitar player's best friend. I can't tell you how many times I've seen otherwise talented players who can't keep time. Not only does it make them sound sloppy, but it also really holds them back. One of the first things I taught myself was the ability to play at different speeds in tempo. Use a metronome when practicing scales/exercises, improvising, recording, rehearsing, writing songs... The only time I would not use a metronome is when playing live. Just make sure you have a drummer who can keep time/tempo. here's a good online one. Traditional metronomes are okay, but they aren't as reliable as digital ones.

lol, i was going to post that exact link last night. i got distracted by modes and forgot. great points though. and good luck finding a drummer who can actually keep a solid rhythm, in my experience they are more than a little difficult to find

billiumbean · « **Reply #22 on:** 05 Apr 2009, 18:27 »

Quote from: ptownblazer on 03 Apr 2009, 19:33

Quote from: billiumbean on 28 Mar 2009, 05:55
The Mixolydian scale is my favorite so far. At pattern 0 in the C chord progression, it goes a little like this:

e | ------------------------------0-1-3-- | B | --------------------------1-3-------- | G | --------------------0-2-3------------ | D | --------------0-2-3------------------ | A | --------0-1-3------------------------ | E | --0-1-3------------------------------ |

monster post

Yeah, that.

ledhendrix · « **Reply #23 on:** 06 Apr 2009, 12:25 »

Yeah, that was an excellent post ptownblazer. Just been practising a couple of scales, I used to just get stuck playing pentatonic, now there's plenty more options.

doombilly · « **Reply #24 on:** 07 Apr 2009, 06:03 »

Sort of interesting find from BoingBoing... http://www.core77.com/blog/videos/mark_frauenfelders_diy_3string_electric_uke__13037.asp
Which made me think about "drone tuning."

I basically NEVER play in anything other than EADGBE....but then I was thinking about a crappy Hamer Slammer 4 string bass we have hanging on the wall (decoy for retarded thieves). Thinking if I tuned it to DADG and then played it with the bottleneck into my PODx3Live (with massive FXs applied) might make some really fun noise. Could be cool while the wifey plunks out some of her bass fingered goodness on the P bass, like an all bottom ended psychedelic freaq out...

valley_parade · « **Reply #25 on:** 07 Apr 2009, 07:27 »

Double bass action is cool. I know Sigur Ros rock two basses on Hoppipolla.

zerobar · « **Reply #26 on:** 09 Apr 2009, 00:23 »

So I know people didn't want "shred" stuff, but here's a tapping lick I tabbed out. It's kinda a mix of a tapping run of Nuno Bettencourt's tapping run off of "pornografitti" and the end tapping part from George Lynch's solo on "Tooth and Nail." I know it falls squarely in the genre of "shred," but tapping is one of the ways that I got my pinky finger stronger, and since this run requires a fairly decent stretch at some parts, it's pretty much necessary you use your pinky.

T T T T T T T T T T
E|-----------------------------------------------------------------------------------------------------------------------|
B|---------------------------------------------------------------------------------------------17p9h12h17p12p9|
G|-------------------------------------------------------------------15p7h10h15p10p7--------------------------|
D|---------------------------------------------14p6h9h14p9p6---------------------------------------------------|
A|-----------------------13p5h8h13p8p5-------------------------------------------------------------------------|
E|-12p4h7h12p7p4------------------------------------------------------------------------------------------------|
T T T T T T T T
E|-18p10h13h18p13p10-15p8h12h15p12p8------------------------------------------------------------|
B|----------------------------------------------------------14p7p11h14p11p7----------------------------------|
G|------------------------------------------------------------------------------------12p5h9h12p9p5-----------|
D|----------------------------------------------------------------------------------------------------------------------|
A|----------------------------------------------------------------------------------------------------------------------|
E|----------------------------------------------------------------------------------------------------------------------|
T T T T T T
E|------------------------------------------------------------------------------------------------------------------|
B|------------------------------------------------------------------------------------------------------------------|
G|------------------------------------------------------------------------------------------------------------------|
D|-11p4h8h11p8p4----------------------------------------------------------------------------------------------|
A|------------------------10p3h7h10p7p3-----------------------------------------------------------------------|
E|-----------------------------------------------9p2h6h9p6p2~-------------------------------------------------|

Well, it copied over kinda messed up, but I think the gist of it is there. Hope someone gets some use out of it. It's the first thing I've ever tabbed out.

THESE FORUMS NOW CLOSED (read only)

Author Topic: The Guitar Playing Thread (technique, tab, practice, etc.) (Read 12135 times)