guitar – Page 2 – Technoserene

Taking bites

When comes the time to execute a difficult guitar passage, it is usually better to break it down into small, isolated sections instead of trying to pull the part off in one shot. Doing this is like putting a magnifying lens on the whole situation. Analysing all the little details and problems becomes a lot easier as our concentration is focused on all the things that keep us from playing the passage properly.

One of my favorite guitarists of all time is Steve Morse, and I’ve always been into his views on practicing and developing consistent technique. The main riff of “Runaway Train” (video), a fast-paced country tune from his 1992 recording “Coast to Coast” serves as a good example for this. Below is the main riff:

E|-----------------------------------------------------3---|
B|-----------------------------------------------------3---|
G|-----------------2---4---2-----------0-------0-------0---|
D|-----0-----0-3-4---4---4---3-2-0-4-5---2/32-------------|
A|-4/5---4/5-------------------------------------2-0-------|
E|---------------------------------------------------3-3---|

E|---------------------------------------------------------|
B|----------------------------------3----------------------|
G|------------------------2---------2----------------------|
D|-3----------------2-4-2---3-2--0--0----------------------|
A|----------3-5-3-4----------------------------------------|
E|---1--3/5------------------------------------------------|

From this, we can create 4 isolated cases:

Part 1:
E|----------------------------|
B|----------------------------|
G|----------------------------|
D|------------0---------------|
A|-----4/5---------4/5--------|
E|----------------------------|

The first step is to master the quick slide between the C# and the D, followed by the repeated open D string. This simple but effective lick is used a lot in country music, and a certain swing has to be applied to the phrasing of the notes. Strict alternate picking is involved, starting on a downstroke, with the repeated D played with an upstroke.

Part 2:
E|-----------------------------------------------------|
B|-----------------------------------------------------|
G|------------------2-------4-------2------------------|
D|----0----3----4-------4-------4-------3----2----0----|
A|-----------------------------------------------------|
E|-----------------------------------------------------|

Because slides were involved in the first part, we find ourselves beginning with an upstroke here. This is where the “inside the string” picking phenomena will be encountered. For those of you who are unfamiliar with this term, (Dream Theater’s John Petrucci provides a good explanation of this in his “Rock Discipline” DVD), this is when there is a downstroke followed by an upstroke on a lower string, or an upstroke followed by a downstroke on a higher string. Executing fast, precise melodies in these types of situations is very difficult because the pick seems to be trapped between the strings. Using strict alternate picking starting with an upstroke, work your way through this section slowly. Notice that the challenge is when the notes alternate between the D and G strings. If you want, you can zoom in even further by praticing it alone starting with an upstroke:

E|-----------------------------------------------------|
B|-----------------------------------------------------|
G|------------------2-------4-------2------------------|
D|--------------4-------4-------4----------------------|
A|-----------------------------------------------------|
E|-----------------------------------------------------|

Part 3:
E|------------------------------------3--------|
B|------------------------------------3--------|
G|---------0----------0---------------0--------|
D|-4---5------2/32----------------------------|
A|------------------------2---0----------------|
E|--------------------------------3---3--------|

This part begins with a downstroke, and the challenge is to not only get by the inside the string from G to B, but to skip the D string at the same time.

Part 4:
E|---------------------------------------------------------|
B|----------------------------------3----------------------|
G|------------------------2---------2----------------------|
D|-3----------------2-4-2---3-2--0--0----------------------|
A|----------3-5-3-4----------------------------------------|
E|---1--3/5------------------------------------------------|

The last section is in fact the entire second part of the riff. It is pretty straightforward, but make sure that you are still using clean and consistent alternate picking throughout.Another piece by Morse on this album is called “Flat Baroque” (video), and the intro melody has Celtic/Irish flavors, being in E mixolydian. To me, this little intro is an excellent picking workout. Once again, the only way to properly master and memorize it is to break it down into parts. Here is the intro:

E|-12-0---------9-0-----0--7-0--------4-0-----0----------------------|
B|------9----0------7----------3---0------7---------------0----------|
G|--------11----------7----------6----------7----------2-----2h4-----|
D|-----------------------------------------------0--4--------2-------|
A|-------------------------------------------------------------------|
E|---------------------------------------------------------------0---| 

E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|-4--2--------------------------------------------------------------|
D|-------4-2----2----------------------------------------------------|
A|-----------5-----4-2--------2--------------------------------------|
E|---------------------5--3-4----0-----------------------------------|

Now, we divide it into 6 sections:

Part 1: Part 2: Part 3: Part 4:
E|-12-0---------| E|-9-0-----0--| E|-7-0--------| E|-4-0-----0--|
B|------9----0--| B|-----7------| B|-----3---0--| B|-----7------|
G|--------11----| G|-------7----| G|-------6----| G|-------7----|
D|--------------| D|------------| D|------------| D|------------|
A|--------------| A|------------| A|------------| A|------------|
E|--------------| E|------------| E|------------| E|------------|

The way to isolate bits and pieces of a passage is simple. Start at the beginning and work your way through. Every time there is something difficult, unorthodox, or strange for you from a technical standpoint, label what you have been playing including the difficulty as part 1. Then, continuing from there, proceed with the same method with parts 2, 3, 4, etc. If there is no challenge for you present, then dividing into sections can still be helpful if there is a large amount of notes involved. In “Flat Baroque”, things kickstart into high gear with four back-to-back inside the string picking patterns reminiscent of one-note-per-string arpeggios on the top three strings. The parts alternate between ending on the open B and E strings, so you’ll need to skip a string twice. Plus, because the parts are in sixteenth-notes with each of them ending on an eighth-note, you’ll begin each part with a downstroke when it is time to connect all the sections together.

Part 5:
E|--------------------------------------------------------|
B|-----------0--------------------------------------------|
G|--------2-----2h4---------------------------------------|
D|--0--4--------2-----------------------------------------|
A|--------------------------------------------------------|
E|-----------------0--------------------------------------|

Part 5 is pretty simple and straightforward. The only possible difficulty is the double-stop followed by the open low E string because there’s some string-skipping involved.

Part 6:
E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|-4--2--------------------------------------------------------------|
D|-------4-2----2----------------------------------------------------|
A|-----------5-----4-2--------2--------------------------------------|
E|---------------------5--3-4----0-----------------------------------|

The entire second part of the intro can be viewed as a descending pattern back down to the low E. The rhythm is syncopated, alternating between two eight-notes and two sixteenth-notes twice in the beginning. Again, strict alternate picking is required, but because the A at the 5th fret on the E string is an eight-note that is followed by two sixteenth-notes, you are repeating a downstroke twice. Once on the A and once on the G. Doing this allows a better flow of the melody and it enables you to play the two quick sixteenth-notes fluidly.The thing that I really like about Steve Morse is that not only is he proficient technically, but he is also always trying to come up with different sounding melodies and new approaches to phrasing. Here is a final example taken out of “Rally Cry” (video) from his 1995 recording “Structural Damage”:

E|-----9-----7----------------------------------------------|
B|-------------9-----7--------------------------------------|
G|---------9---------------9-8-6-----4----------------------|
D|---9---7---------9-----6-------------6-4------------------|
A|-7-------------------------------7---------7-6-4----------|
E|---------------7-----9---------5---------7----------------|

Part 1:
E|---------------------9-----------|
B|---------------------------------|
G|---------------------------------|
D|---------------9-----------------|
A|---------7-----------------------|
E|---------------------------------|

When looking at this melody, the first immediate thing that jumps out is the amount of string-skipping involved. Memorizing the location of the notes on the fretboard can be very difficult because the notes are scattered on the strings without any particular pattern. Plus, the picking pattern becomes extremely confusing as we are using strick alternate picking as well. So, the only way to learn how to fret the melody as well as to surmount the technical challenges is to break it down into parts. Here, we begin by skipping two strings at once to go reach for the C# on the high E string.

Part 2:
E|-----------------7---------------|
B|---------------------9-----------|
G|-------------9-------------------|
D|---------7-----------------------|
A|---------------------------------|
E|---------------------------------|

After, we master this part beginning with an upstroke (there is an odd number of notes in the first part), and we are skipping the B string also.

Part 3:
E|---------------------------------|
B|---------------------7-----------|
G|---------------------------------|
D|---------------9-----------------|
A|---------------------------------|
E|---------7-----------------------|

In part 3 we start on an upstroke again, and there is two consecutive string-skips.

Part 4:
E|-------------------------------|
B|-------------------------------|
G|--------------9----8----6------|
D|---------6---------------------|
A|-------------------------------|
E|----9--------------------------|

We commence this part with a downstroke, and once again, there is string-skipping.

Part 5:
E|---------------------------------------|
B|---------------------------------------|
G|-----------4---------------------------|
D|---------------6---4-------------------|
A|-------7-------------------7---6---4---|
E|---5-------------------7---------------|

The final part begins with an upstroke, and of course, there is some string-skipping involved.Notice how Morse makes this whole melody from “Rally Cry” sound a lot more interesting and “open” by transposing certain notes to a higher octave. This is the reason why we end up with so many string-skips in the first place. Also, we skip some strings in an effort to prevent too many position shifts that would make the passage even more difficult to play. In the end, we have this incredibly wide and intervallic sounding melody that grabs your attention and is sure to turn heads.

3 Shape Pattern Of Hammer

The following exercises are designed to be played firstly at a slow speed so you can evenly sound out the notes. Only when you are comfortable with it should you increase the speed. This 3 shape pattern will let you appreciate the power of the ‘rolling hammer-on’ or ‘double hammer-on’. I am writing this presuming that you people already know what a hammer-on is. Please refer to hammer-ons in the main lessons section if you are unsure.

We will start with the first of the 3 shapes, this shape being the 2, 3, 5 (2nd fret, 3rd fret, 5th fret). The 2nd fret is picked. The 3rd fret is a hammer-on, as is the 5th fret. I have included the left hand fingering underneath.

The First Shape

2, 3, 5.

Fig.1
|-------------------------------2h3h5--|E
|-------------------------2h3h5--------|B
|-------------------2h3h5--------------|G
|-------------2h3h5--------------------|D
|-------2h3h5--------------------------|A
|-2h3h5--------------------------------|E
 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4

For anyone who doesnt’t understand the meaning of ‘left hand fingering’ — follow the numbers running underneath the tab. 1=1st finger, 2=2nd, etc.Like the other 2 main shapes to come, you can run up and down the fretboard with this basic shape, wherever you want. Try playing just 2 or maybe 3 strings with this shape: eg. Using only the D and G strings, play the first shape of 2, 3, 5 on the D string, then the same shape on the G string straight after, then back to the D string. Play in a loop like this:

Fig.2
|------------------------------------------|E
|------------------------------------------|B
|-------2h3h5-------2h3h5-------2h3h5------|G
|-2h3h5-------2h3h5-------2h3h5------------|D
|------------------------------------------|A
|------------------------------------------|E
 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4

Now try adding something new to this ‘rolling’ pattern. Try ascending the 2, 3, 5 shape one fret at a time after you’ve played both the D string and the G string. It can go as high as you like up the strings, like this:

Fig.3
|-------------------------------------------|E
|-------------------------------------------|B
|-------2h3h5-------3h4h6-------4h5h7-------|G
|-2h3h5-------3h4h6-------4h5h7-------------|D
|-------------------------------------------|A
|-------------------------------------------|E

Please note that the same ‘shape’ as the 2, 3, 5 is applicable, with the 1st, 2nd and 4th fingers.

The Second Shape

3, 5, 7.This is a very similar pattern as in Fig.1, only this time we’ve spread out the 1st and 2nd fingers that were forming the 2nd fret and the 3rd fret.

Fig.4
|-------------------------------3h5h7-------|E
|-------------------------3h5h7-------------|B
|-------------------3h5h7-------------------|G
|-------------3h5h7-------------------------|D
|-------3h5h7-------------------------------|A
|-3h5h7-------------------------------------|E

And same as before, you can play this shape over just 2 or 3 strings, like in Fig.2. You can also take this shape one fret higher each time like in Fig.3.

The Third Shape

5, 7, 8.This shape is just a mirror image of our first shape, the 2, 3, 5.

Fig.5
|-------------------------------5h7h8------------|E
|-------------------------5h7h8------------------|B
|-------------------5h7h8------------------------|G
|-------------5h7h8------------------------------|D
|-------5h7h8------------------------------------|A
|-5h7h8------------------------------------------|E
 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

Note that some players may like to use a different method of fingering for this shape and introduce their 3rd finger onto to 7th fret and the 4th finger onto the 8th fret, and it doesn’t really matter as long as the notes are there. Although the existing fingering is merely a recommendation, keep in mind that everyone will find one of the suggested ways more comfortable than the other. Also, as you take this shape higher one fret at a time like the previous shapes (Fig.3), you’ll find your shape shrinking, that’s why I allow for the fingering pattern of 1, 2, 3. To save space when we start running out the higher we go.Now, all that’s left to do is split up the shapes into their appropriate order. Fig.1/Fig.4/Fig.5 is displayed (ascending) over the D string and G string below:

Fig.6
|-------------------------------------------|E
|-------------------------------------------|B
|-------2h3h5-------3h5h7-------5h7h8-------|G
|-2h3h5-------3h5h7-------5h7h8-------------|D
|-------------------------------------------|A
|-------------------------------------------|E
 1 2 4 1 2 4 1 2 4 1 2 4 1 2 3 1 2 3

The above exercise shows how use of the 3 specific shapes can be seamlessly carrying on from the one before. As you can see, each shape is played twice; once on the D string, and once on the G string. Using your own creative playing styles, try making up your own patterns like this. Now for one last exercise to really open up the possibilities for shredding/left hand speed. We can use one or all of the above shapes as shown in Fig.7. to introduce the inbred half-cousin of the hammer-on, the pull-off. Knowing that Pull-offs are like the exact opposite of a hammer-on, try combining the two techniques of hammer-ons and pull-offs into a loop:

Fig.7
|-----------------------------------------------|E
|-----------------------------------------------|B
|--------7h8h10p8p7-------------7h8h10p8p7--etc-|G
|-7h8h10------------10p8p7h8h10-----------------|D
|-----------------------------------------------|A
|-----------------------------------------------|E
 1 2 4 1 2 4 2 1 4 2 1 2 4 1 2 4

The above exercise shows how use of the 3 specific shapes can be seamlessly carried on from the one before. it’s quite good because it allows your right hand freedom. We only have to pick a total of 4 times in Fig.7. But get a total of 18 notes out of it! For a real challenge, try picking every note. Fig.7 is exactly the same shape as in Fig.1 – except it starts on the 7th fret instead of the 2nd. You can follow on in this way, creeping your way higher and higher each time. Try playing the 3 shapes in order like in Fig.6 but this time add the first shape again from your 7th fret, to start the 3 shape cycle all over again, like this:

Fig.8
|--------------------------------------------------------------------|E
|--------------------------------------------------------------------|B
|-------2h3h5-------3h5h7-------5h7h8--------7h8h10---------8h10h12--|G
|-2h3h5-------3h5h7-------5h7h8-------7h8h10--------8h10h12----------|D
|--------------------------------------------------------------------|A
|--------------------------------------------------------------------|E
 1 2 4 1 2 4 1 2 4 1 2 4 1 2 3 1 2 3 1 2 4 1 2 4 1 2 4 1 2 4

If you feel like doing something different or you just want to get your pull-offs better, try going backwards. You can turn Fig.8 into a mirror image and play from high all the way back, using pull-offs instead of hammer-ons. Again, for a challenge try picking every note and see how fast you can get it.There’s so much you can do with these 3 simple shapes, the list could go on. I hope this gives you something new and unusual to play with and has helped you to advance your playing style and/or helped you to become a more well-rounded guitarist. As we all know, you can never have too much information regarding various techniques.

The Building Of A Skip.

The Building Of A Skip.
A skip can be designed off of many things. A simple way to write a skip that may not always sound right is to take scales and knock out several lines. This will give you a decent skip. For example, the Ionian scale:

E----------------------------5-7-8------|
B-----------------------5-7-8-----------|
G------------------4-5-7----------------|
D-------------4-5-7---------------------| (Then reverse)
A--------3-5-7--------------------------|
E---3-5-7-------------------------------|

could be:
E----------------------------5-7-8------|
B---------------------------------------|
G------------------4-5-7----------------|
D---------------------------------------|(Then reverse)
A--------3-5-7--------------------------|
E---------------------------------------|

As you can see if you played it, this does not sound very nice. Another way is to use different parts of guitar as building blocks. For example, this:

E------------------9-12-14--------------------|
B---------------------------------------------|
G-------9-11-14------------14-11-9------------|
D---------------------------------------------|
A--12-----------------------------------12----|
E---------------------------------------------|
is supported by the harmony:
G----9----|
D---------|
A---12----|
E---------|

This double should sound very rich and bell like. There are many other ways to build string skips, but since we have covered all we need for our exercises, we don’t need to go over any more right now. The biggest thing is to experiment. Use what you know and test what you don’t. Music theory knowledge will always help with building any music.The Basics.
The picking that you will use will be alternate picking, almost always. You should also always try to choose the easiest way to fret the skip. A basic skip is:

E-----------------------------|
B-----------------------------|
G---------------11-12-16------|
D-----------------------------|
A---10-14-17------------------|
E-----------------------------|
     1  3  4     1  2  4

The numbers underneath are which fingers you use. Once you get quick with this you should try more complicated stuff like the earlier described skip:

E------------------9-12-14--------------------|
B---------------------------------------------|
G-------9-11-14------------14-11-9------------|
D---------------------------------------------|
A--12-----------------------------------12----|
E---------------------------------------------|
    3   1  2  4    1  3  4  4  2 1       3

I usually play this by instead of using my 3rd finger for the a string notes I use my fourth, but this is the proper way to play this.That’s it! These are the basics. If you can play all of the above described you can play most skips. Just practice, practice, practice.

In dino guitar tab


C----------Am---------- C-------- Am
in Dino, Dil Mera, Mujhse Hai Keh Raha 

C-G---------C
Tu Khaab Saja,
C-G---------C
Tu Ji Le Jara 

C-----------------G
Hai Tujhe Bhi Izaazat,
Am-----------------C
Karle Tu Bhi Muhabbat 

C------------------Am-----------G-----------C
berang Si Hai Badi Zindagi Kuchh Rang To Bharoon
C-----------------------Am--------------G---------C
Main Apani Tanahaayi Ke Waaste Abbb Kuchh Toh Karoon) 

C------------------G
Jab Mile Thodi Fursat
Am------------------C
Mujhse Karle Muhabbat
C------------------G
Hai Tujhe Bhi Izaazat,
Am------------------C
Karle Tu Bhi Muhabbat

Alvida guitar tab

C———————Am—————–
chhup ke se kahin … dheeme paaon se …
F———————–C–
jaane kiS tarah, kis ghadi
C————- Am—————-
aage bad gaye hum se rahoon main
F——————— C–
par tum to abhi the yahin
F——————–
kuch bhi naa suna …
Dm——————
kab ka tha gila …
-G—————C-
kaise keh diya alvida

C—————–Am—
jinake darmiya gujri thi abhi
F—————-C
kal tak yeh meri zindagi
F Dm
dono baahon ko, thandi chaanv ko
G C
hum bhi kar chale alvida

Chorus:

—-C———————-G————
alvida … alvida … meri rahein alvida
—–F——————–Am
meri saasein kehti hai alvida
—-C——————–G————
alvida … alvida … ab kehna aur kya
—-F—————Am
jab tune keh diya alvida

Verse –

A——————-C#m————–
sunle bekhabar kyun aankhein pher kar
F#——————-Bm———–
aaj tu chali jaa … dhundegi nazar
G——————–E–
humko hi magar har jagah
A—————-C#m———-
aisi raaton main leke karwaate
F#————— Bm————-
yaad hamen karna aur phir har kar
G———————-E-
kehna kyun magar keh diya

—-Am———————-G————
alvida … alvida … meri rahein alvida
—–F——————–Am
meri saasein kehti hai alvida
—-C——————–G————
alvida … alvida … ab kehna aur kya
—-F—————-Am
jab tune keh diya alvida

Saawariya tabs + chord (title song)

solo:
E———————————————————————————————————
B——————–3p2—————————–2-3—3/53—–5/7-5-3-3/5———————
G——–2-4-4/6———-4-46————–2-4———4/64———————–4/64———–
D–2-4——————————7—-4—————————————————————
A———————————————————————————————————
E———————————————————————————————————
end of solo

this is played befor the line “aana hai milne aana hai,tujhse hi milne aana hai”
E————————————————————
B——————3—2———————————–
G——————2—2———————————–
D-2h4p2——————–2—————————–
A———-0-0———————————————-
E————————————————————

try this too..

e—————————————————
B—————–6[b]-5———————-6–5–
G——-5—–5———–5———-5—–5——–
D–5h-7—-5——————–5h-7—-5———-
A—————————————————
E—————————————————

The rythm goes like thsi:

(A)..sawariyya..(F#m)..sawariyya…..(Bm)..sawariy ya….(A)..Sawariyaa..
(D)…..(A)
Doli mey bithake
(D)…..(A)
sitaro se sajake
(D)
jamane se churake
(Bm)
le jayega
(A)…………(F#m)………(Bm)…………(A)
sawariyya.. sawariyya.. sawariyya.. sawariyya..

play same at similar lyrics….
the difference in the lines are as

(Bm)————————(E)
le jayega ek roj tera udake jiya

then

(A)———(F#m)
Palko ke shamiyaane mein
(Bm)——–(A)
khabon ke har thikane mein
(A#)————(D)
teri hi parchayeeaa..
(A#)————–(A)
tu to har lamha yaadon mein hai
(Bm)—————————(D)———(E)
teri khamosh paheli najar ka diwaana bona..

Song Yaro Dosti by: Kk

    This part is palyd thru out da song.....(the song starts with this part too)
E|-------0-1-0---|------|------------------------------------------|
B|------2-----2--|--2-0-|--22-22-2---------------------------------|
G|-----3-------3-|-3----|-3----------------------------------------|
D|----0----------|------|------------------------------------------|
A|---------------|------|------------------------------------------|
E|---------------|------|------------------------------------------|

the chords r like dis:
(there's a riff in between marked by *)

D.........G......D............G.....A....
Yaaron, dosti bari hi haseen hai
.........D......G...........D...................G...A..
Ye na ho to, kya phir, bolo yeh zindagi hai
......Bm........G....
Koi to ho razdaar
.......D..............Em..
Begaraz tera ho yaar
.....Bm...........D......
Koi to ho raazdaar *

D..........G............D..............G....A...
Yaaron, mohabbat hi to bandagi hai
.........D......G.........D....................G..A...
Ye na ho to kya phir bolo yeh zindagi hai
.....Bm.............G.....
Koi to dilbar ho yaar
D....................Em...
Jisko tujhse ho pyar
.....Bm.............D.....
Koi to dilbar ho yaar *

Bm........F#m..........G................D....
Teri har ek buraee pe dante woh dost
Bm..............F#m.....................G..............D.......G
Gham ki ho dhoop to saaya bane tera woh dost
G...................D...........A.......
Nache bhi woh teri khushi se

D.........G......D............G.....A....
Yaaron, dosti bari hi haseen hai
.........D......G...........D...................G...A..
Ye na ho to, kya phir, bolo yeh zindagi hai
......Bm........G....
Koi to ho razdaar
.......D..............Em..
Begaraz tera ho yaar
.....Bm...........D......
Koi to ho raazdaar *

Bm.............F#m..........G...............D...
Tanman kare tujhpe fida mehboob woh
Bm..........F#m.............G...............D............G
Palkon pe jo rakhe tujhe mehboob woh
G...........D...........A......
Jiski wafaa tere liye ho

D..........G............D..............G....A...
Yaaron, mohabbat hi to bandagi hai
.........D......G.........D....................G..A...
Ye na ho to kya phir bolo yeh zindagi hai
.....Bm.............G.....
Koi to dilbar ho yaar
D....................Em...
Jisko tujhse ho pyar
.....Bm.............D.....
Koi to dilbar ho yaar *

*Filler riff :

E|----------5-------2------1p0---------------------------------------------|
A|--------------------------------------3----------------------------------|
D|-------------------------------------------------------------------------|
G|-------------------------------------------------------------------------|
B|-------------------------------------------------------------------------|
E|-------------------------------------------------------------------------|