![]() ![]() Again, remember the importance of effective left- and right-hand muting techniques in order to keep the execution clean and prevent idle strings from ringing. This next example is a rapid-fire EVH-style half-roll string-crossing lick in E minor, demonstrating the “reverse-pattern-to-bend” exit phrase. I would use the ring finger for this final note, as it is better suited to perfoming the vibrato technique. The lick exits with another common EVH trademark, the displacement of the final tapped note by the fret-hand, via a quick ascending slide into the note, to which a hearty vibrato is then applied. Also notice in bars 2 and 3 how the tapped melody notes move in anticipation of the following chord. Be aware of the anticipation into bar 2, with the last note of bar 1 setting up a smooth harmonic transition from the A triad to F. Again, classical-style major triad arpeggios are employed. The remaining lower strings are muted by lightly resting the heel and thumb pad on them.Īlso inspired by Eddie Van Halen, this example demonstrates the full-roll version of the single-string tapping technique, wherein the fret-hand pinkie stays pressed down as the right hand taps and pulls-off to it. WIth the fret hand, follow the rule that the tip of the index finger always mutes the string above the one being played, so that it lightly touches the next lowest string as it’s fretting the one you’re playing on. Notice that, on the downbeat of beats one and three in each bar, a note is being tapped as the fret hand shifts down one fret, which conveniently prevents an audible squeaking sound and makes for a fluid transition from one arpeggio to the next. Technically, it is a great way to start moving the fretting fingers around while tapping on one string, and you’ll see that the tapped note is also moving melodically. This example progresses through a succession of classical-style triad arpeggios. Here we have the half-roll tapping technique that stunned the world and redefined rock lead guitar in 1978 with the release of Van Halen. SINGLE-STRING HALF-ROLL TAPPING (EDDIE VAN HALEN) 009–.046 gauge strings with a DiMarzio Tone Zone pickup in the bridge and an Air Norton in the neck, through a Marshall JCM 800/Tube Screamer–type sound on AmpliTube v2. To record the sound files for this lesson, I used an Ibanez J Custom with. On the amps, modified high-gain Marshalls, Ibanez Tube Screamers, Boss DS-1 distortion pedals and Boss DD-3 delays were a poplular choice for a lot of the Eighties players, with Mesa/Boogie Dual Rectifiers providing the chunky low end for a lot of the post-Nineties riffage. Most players of this style would be using. To get the modern rock tone, it’s ideal to have a guitar with high-output pickups, low action and light string gauges. Check this month’s CD-ROM for this feature’s audio examples, demonstrated at slow and standard speed, and try to take each area and learn to memory very slowly, applying speed gradually over time. In this lesson, I’ll reflect on the main technical phases of development in modern rock guitar playing over the past three decades, with an insight into the players, techniques and bands that have contributed to the evolution of rock guitar.
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