NorthboundRain wrote:it's pretty simple. play triad shapes on the top three strings, just higher up on the neck and in different voicings.
play the top 3 notes of an open E chord, G# (1st fret) on the G string w/ B and E open, with the root of the chord on the open E string
do the same for the A chord playing A (2nd fret) on the G string, C# (2nd fret) on the B string, E on the open E string, here the root is on the G string at the 2nd fret.
and again w/ the open D shape playing A (2nd fret) on the G string, D (3rd fret) on the B string, and F# (2nd fret) on the E string. Now the root is on the B string
now you just start moving the your shapes around based on the root of the chord. For example in Sugaree you are playing over a B to E progression. Playing two inversions over each chord you might start with an Open E Chord shaped triad, but rooted at the 7th fret (the top three notes of a B barre chord) for beats 1-2, then shift up the neck to the D shape rooted on the 12 fret for beats 3-4. You're playing the same chord, just a different inversion (order of the root, 3rd, and 5th). When you modulate to the E chord you
could play the Open E shape an octave up rooted at the 12th fret of the E string on beats 1-2 and then switch to the Open A chord shape rooted on the 9th fret of the G string (you could also think of it as the top three notes of the E barre chord) for beats 3-4.
Play around with this idea, moving up and down through different inversions and outlining the changes to different songs. It's a great way to build intensity during a solo. Don't forget to learn your minor chord shapes too.
Be sure to play around with the same idea using arpeggiated picking instead of the tremolo for a nice dreamy effect, especially when you add some delay.
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