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CONTENTS

Chicken Pickin
FIGURE 1a: Choking the string using hybrid picking
FIGURE 1b: A major pentatonic in second position
FIGURE 2: A major pentatonic lick with chromatic passing tones
FIGURE 3: Hybrid picking with E blues scale
FIGURE 4: Banjo roll-style picking
FIGURE 5: Hybrid picking with A blues scale
FIGURE 6a: Oblique bends with hybrid picking
FIGURE 6b: A major hexatonic with bends
FIGURE 7: More hybrid picking with A blues scale
FIGURE 8: Chicken pickin through a chord progression
FIGURE 9: Complex chicken-picked oblique bends
FIGURE 10: Chicken pickin with oblique bends and vibrato
FIGURE 11: A minor pentatonic scale and melody
FIGURE 12: A major pentatonic scale and melody
FIGURES 13a & b: A minor and major scale licks
FIGURE 14: Oblique bends in A major pentatonic
FIGURE 15a: Banjo-style/oblique bend riff in A
FIGURE 15b: Banjo-style/oblique bend riff in G

Double-Stops
FIGURE 1a: Double-stops with A root note through two octaves
FIGURE 1b: Major and minor seconds
FIGURE 2a: I7-IV7-V7 progression in E
FIGURE 2b: E Mixolydian mode
FIGURE 3a: E Mixolydian on the 1st string against low E pedal
FIGURE 3b: E Mixolydian on the 2nd string against low E pedal
FIGURE 3c: E Mixolydian on the 3rd string against low E pedal
FIGURES 4a & b: E Mixolydian thirds on G and B strings
FIGURE 5a: Double-stop melody in classic R&B/blues style
FIGURES 5be: Moving E Mixolydian double-stops up the fretboard
FIGURES 6a & b: Applying double-stop shapes to single-note lines
FIGURE 7: Transposing double-stop melodies through a 12-bar blues progression
FIGURES 8a & b: E Mixolydian sixths
FIGURE 9: Harmonized double-stop melodies, la the Allman Brothers
FIGURE 10: Hammered double-stops, la Jimi Hendrix
FIGURES 11 & 12: Double-stops, la Metallica

[COLUMNS]

CHICKEN PICKIN

IN DEEP
by ANDY ALEDORT

AN IN-DEPTH LOOK AT COUNTRY LEAD GUITAR


STYLES AND TECHNIQUES

ON DISC!
FIGURE 1a
A

IN THIS MONTHS In Deep, were


going to focus on country-style soloing, in
particular the type earmarked by staccato
picking techniques and often rounded
up under the heading chicken pickin.
Though the term chicken pickin denotes
specific picking techniques, it is often
used to describe country-style singlenote soloing in general. Some legendary
country guitarists known for popularizing
these techniques are the great James
Burton (Dale Hawkins, Ricky Nelson and
Elvis Presley), Roy Nichols (Merle Haggard),
Roy Buchanan (Dale and Ronnie Hawkins),
Redd Volkaert (Merle Haggard), Danny
Gatton, Brad Paisley, Brent Mason and
Johnny Hiland.
Before we get to the technique itself,
lets talk gear. Many country guitar
players favor Fender Telecasters, leaning
heavily on the bridge pickup for its bright,
clear, highly articulate sound. Because
string bending is an essential element
of the chicken-pickin style, light strings,
such as .009s or .010s, are favored.
Effects including slap-back delay and
compression, are often employed as well.
The chicken-pickin sound is executed
through a combination of muted string
accentsakin to the clucking of a
chickenand syncopated melodic phrases.
Many guitarists use hybrid pickingpicking
with both the fingers and the pickto
achieve this effect.
As shown in FIGURE 1a, I begin by
bending the second, B (G string, fourth
fret) up one whole step to the major
third, Cs. The bend is then released as I
alternately pick the muted string with the
plectrum and ring finger. The first bar of
this lick is based on A major pentatonic
(A B Cs E Fs), illustrated in FIGURE 1b.
I then move the phrase up three frets,
transforming it to A minor pentatonic (A
C D E G). For each x note, release frethand pressure against the string, without
letting go of it, to achieve a choking
sound.
FIGURE 2 is also based on A major
pentatonic but includes the minor third
(f3), C natural, as a passing tone; this
riff is primarily alternate-picked (downup), with a legato slide used to move from
C to Cs. FIGURE 3 is played over E7 and is
based on the E blues scale (E G A Bf B D)
with the inclusion of the major third, Gs.

w/hybrid picking
1

T
A
B

X X X 4

X 2

4 2 4 2

GU I TA R WOR L D

X X X 7

X 5

2 4 4

2 4

0 2 4

(4)2

FIGURE 2
A

T
A
B

7 5

FIGURE 1b A major pentatonic

w/alternate picking

T
A
B

2 4 2

X 3 4

5 X 7 8 9

5 7 5

2 X 4 5 6

FIGURE 3
E7
1

let ring throughout


w/hybrid picking

T
A
B

3 4

3 4

3 4

3 4

2 0

3 4

2 0

3 4

3 4

3 20

0 1

3 4

3 4

20

1 0

2
0

FIGURE 4 Banjo roll

FIGURE 5
A7

E7
let ring throughout
fingerpick

T
A
B

0
4

let ring throughout


w/hybrid picking
1
1
1
1
5
5
5

0
3

20

20

20

T
A
B

20
3

7 (7)

7 (7)

7 (7)

7 (7)5

FIGURE 6a
A7
1

w/hybrid picking
1 hold bend

7 (7)

7 (7)

5
7 (7)5

5 (5)

7 (7)

7 5 7

7 (7)5

75

7 5 3

12 10 10
12(12) 12 12 12(12)10

T
A
B

11

10

11

FIGURE 6b A major hexatonic


1

12 14 12 10
12(12) 12 12 12 12(12) 10

T
A
B

10

FIGURE 7
1

T
A
B

10

12 (12)

12 (12) 12

10

12(12)10 10

A7

7 7

8
7 (7)

8
7 (7)5

7 7

8
7

7 (7)

8
7 (7)5

7 7

7 5 7

7 (7)5

7 5

7 6 5 3 4

FIGURE 8 w/chromaticism
A7

T
A
B

7 (7)

5 8

5
8 75

7 5

7 (7)

5 8

D7

92

12(12)

10 13

13

10

8
8 75

E7

8 11

10 (10)

11

1110 8

14(14)

12 15

15

12

10

10

10 8

12
15 1412 14 12
14 14
14 12

10

12

13 1210 12 12
12 12

A NA NU IGVUESRTS 2A 0R 1Y02 0G1 0UGIUTA


I TA RRWO
W O R L10
DR. CLO MD . C O M

C7

14(14)

12 15

15

12

15 1412 14 12
14 14

FIGURE 8 w/chromaticism
A7

T
A
B

[COLUMNS]

7 (7)

5 8

5
5
8 75 7
7 7

5 8

7 (7)

7 5

94

GU I TA R WOR L D

8 75 7
5
7 7

12(12)

13

10

10 (10)

11

1110 8

13 1210 12 12
12 12

12
14(14)

12 15

12

15

10

10

10 8

12
15 1412 14 12
14 14
14 12

10

E7

10 13

8 11

D7

10

I begin by sliding from Bf to B on the G


string, sounded with the pick, followed by
a sharp attack on the open high E, picked
with the ring finger. This three-note
pattern is played four times, followed by a
scalar descent. Pull-offs and hammer-ons
are used in the second half of each phrase
to achieve a smooth, even sound. Strive to
keep the open strings ringing throughout.
The country electric guitar style is an
amalgam of other instruments associated
with the genre, such as banjo, fiddle and
pedal steel. FIGURE 4 builds on the ideas
presented in FIGURE 3 by utilizing a banjo
roll picking technique: I rake (drag) the
thumb across the G and B strings, then
pick the high E with the ring finger, all
while keeping the plectrum tucked in the
first joint of the index finger to facilitate a
return to conventional flatpicking.
Lets move these ideas up to closed
fretting positions (using all fretted notes).
FIGURE 5 is based on A minor pentatonic:
the G string is repeatedly bent with the
ring finger, fortified by the middle finger,
and the bend is held while sounding the
high E string.
The technique of playing bent notes
and unbent notes together is known as
oblique bending. FIGURE 6a emulates the
sound of a pedal steel: the B string is first
bent with the middle finger, and while the
bend is held, the notes at the 14th, 12th
and 10th frets on the high E string are
played alternately. Be sure to allow all of
the strings used to ring together. This lick
is based on A major hexatonic (A B Cs D E
Fs), shown in FIGURE 6b.
FIGURE 7 offers an oblique-bending lick
that incorporates the use of ghost bends
(pre-bent notes). In FIGURE 8, this idea is
moved through the chord progression A7
C7 D7 E7, incorporating chromaticism with
the use of the blues scale on each chord.
Another slick country bending
technique is to hold a bent note while
adding an ascending and descending
melody on higher strings, as in FIGURE
9. Solidity in the fret-hand bend is
required to keep the bent note up to
pitch throughout. At the end of the lick, I
bend C, the minor third, up one half step
to Cs, the major third, and hold that note
with the high A on top. In FIGURE 10a,
Ive combined all these techniques into a
melody played over a chord progression,
each phrase being in direct relation to the
appropriate chord.
If we take these A minor pentatonic/A
blues scale licks and move them down
three frets they become A major
pentatonic licks, as illustrated in FIGURES
1114.
Lets wrap up with a banjo-style lick
played with fretted notes (FIGURE 15a)
and one utilizing open strings (FIGURE
15b). In both licks, the pinkie barres
across the top two strings throughout.
FIGURE 15b is a bluegrass-style lick
for which all the open notes should ring
together.

C7

14(14)

12 15

15

12

15 1412 14 12
14 14

FIGURE 9
A7
2

12
14(14)

15
14(14)

let ring throughout


w/hybrid picking
1 hold bend

12
14(14)

T
A
B

2
2
0

14(14)12(12)

7 (7)

5
7

5
7

(7) (7)

5
7

5
7 (7) 5 (5)

FIGURE 10a
A

T
A
B

7 (7)

5
7

5 8

8 75 7
5
7 7

7 (7)

X X

8
7 (7)

11

5 (5) 5

10(10)

11

8 11

11 10 8

E
1

10

11

10(10) 10(10)

10

10

X X

D
1

10

13 10
13 10 13

8 (8) 8

12(12)

14

15
13 1210 12 10
12 12

10

12

14(14) 14(14) 12(12)

10(10)

8
8 (8)

FIGURE 11 A minor pentatonic

T
A
B

8 5

8 5

7 5

7 5

7 5

8 5

T
A
B

8 5

T
A
B

5 2

8 5

8 5

7 5

7 5

7 5

FIGURE 12 A major pentatonic

T
A
B

5 2

5 2

4 2

4 2

4 2 0

5 2

FIGURE 13a A blues scale


8 5

4 2

4 2

4 2 0 2 0

FIGURE 13b A major pentatonic w/passing tone

T
A
B

5 2

8 5

8 7 5

7 5

7 6 5

5 2

T
A
B

5 2

5 4 2

4 2

4 3 2

FIGURE 14
let ring throughout
hold bend
1

T
A
B

4 (4)

2
4

5
4

2
4

4 (4)

(4)

4 (4) 2

FIGURE 15a
A

T
A
B

let ring throughout


1
(repeat prev. beat)
5
5
4

4 2

5
4 2

5
4

5
4 2

FIGURE 15b
G

let ring throughout


1

T
A
B

A NA NU IGVUESRTS 2A 0R 1Y02 0G1 0UGIUTA


I TA RRWO
W O R L DR. CLO MD . C O M

2 0

2 0

3
2 0

2 0

2 0

0 2

0
1 2

0
3

FIGURE 1a key of A

AT L D
OR OROM
SC W .C
DI TARAL
O N UI GI T
G I
D

FIGURE 1b

b3 3

b5 5

5
7

5
7

8
7

6
7

9
7

b6 6

b7 7

10

COLUMNS * INFIGURE
DEEP2a key of EIIVV
0
3
1
0
2
0

0
2
0
2
0

3
2
2
2
0

#9 10 11 12 13

10 11 12 14

b2

4
7

3
7

intervals:1

2
0
2
1
2

DOUBLE DOSE
0

10

b7 8

(9 10 11 12 13)

FIGURE 2b E Mixolydian

progression
E7 or E7 A7 or A7 B7
0
0
1
0
2
0

8
b9 9
(octave)

(and descending)

FIGURE 3a E Mixolydian on 1st stg.


FIGURE 3b E Mixolydian on 2nd stg.
1/2
throughout
How to uselet ring
double-stops
to forge
parts
ring throughout
creativeletrhythm

0 2 4 5 7 9 10 12 14 16 17 19 21 21
patterns
0 2 3 5 7 9 10 12 14 15 17 19 21
and soloing
0

E7

24

0
1

2
2

3
4

5
6

7
7

9
9

E7

E7

FIGURE 5c q = 82

0
1

3
4

(1)

2
2

3
4

5
6

7
7

FIGURE 1a key of A
FIGURE 5d q =b3823 4 b5 5

5
6

9
9

b6 6

7
7

3
3
4
4

7
7

5
6

10 10
11 11

b7 7

9
9

2
2

2
2

3
4

8
b9 9
(octave)

2
2

3
4

7
7

0
1

2
2

5
6

2
0

14 15 17 19 21
14 16 18 19 21

3 2 0 0 0 0
3 G 3
G
2 0
0
1
0
0

2
2

10 12
11 13

(1)

0
1

FIGURE 5a q. = 120

(and descending)

FIGURE 5b q = 82

BY ANDY ALEDORT

FIGURE 4a G and B stgs.

11 13 14 16 18 19 21

FIGURE 4b
let ring throughout

Thirds in E Mixolydian

FIGURE 3c E Mixolydian on 3rd stg.


let ring throughout

0
01

0
0 (1)

(1)

0
0 (1)

3
4

2
2
0

0
01

2
2

0 (1)

3
4

G 0

FIGURE 1b

#9 10 11 12 13

6 7 8 10 11 12 14
HE TERM DOUBLE-STOP FIGURE
12
10 9 7
7 FIGURE 1b
6 7 128 9 14
10 14
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4
3
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11 13 14 14
13
11 9
7
7

is commonly used by guitarists


7
7
7
7 10
7 11
7 12
7 13
7
b3 7
3 7
4 7
b5 7
5 7 7
b6 7
6 7
b7 7
7
8
b9 7
9 #9
72 G 0 7b2 0 7 0 0 6
(octave)
to describe two notes played
0
0
6 7 8 10 11 12 14

3 310
5
6
7
8
9
10
FIGURE
FIGURE41b 3
simultaneously. This sound can reflect
5 1a
6 key
5 of
8 A9
3
7
7b3 73 74 7b5 75 7 7b6 76 7b7 77 78
7b9 79 #9
7 10
7 11
7 12
7 13
7
7
7
FIGURE
2a
key
of
EIIVV
FIGURE
2b
E
Mixolydian
FIGURE
5e
q
=
82
the harmony of minor or major thirds,
0
2
b2 0
(octave)
6 7 8 10 11 12 14
6
progression
FIGURE 1a key
of A
FIGURE 1b
fourths, fifths or sixths, or other
5 6 714 8intervals:
9 1510
1 152b9 14
39 4#912510 10
611 b7
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descending)
10b5
12
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310
3 (and

3
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5
8
9
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or
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B7
b3
4
5
b6
6
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7
8
12

9 7 117 7 13
14 7 7 167 16 7 14
13 7 117 7 97
9
sounds, such as major and minor FIGURE
7
7
7
7
7
7
7
7
7
7
2
b2
(octave)
0 2a0 key0of EIIVV
3
2
FIGURE
2b E Mixolydian
0
3
2
2 50 6 7 8 9 10 6 7 8 10 11 12 14
0 2 G 03 0 02 04 0 10 6
seconds. As only two notes are played
150 61progression
2
1 2
0

3
5 0
8 2
9
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0
0
2
2
1
0
2
4
intervals:
1
2
3
4
5
6
b7
8
(9
10
11
12

descending)
together, the use of double-stops is the
7 7 07 27 47 7 7
7
7
E7
37 (and
3
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2 7 A7
0 7or A7
07 7B7
2 7 7 7 7 7
0
0
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4
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0 02
4 0
FIGURE
FIGURE
most elemental way in which one can
FIGURE 6a
q =0 722a3 key02of EIIVV
2
0
0 2 3

1
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0
2
2
1 2
express harmony.
3
2 2 2
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0E Mixolydian
41on 1st5stg. intervals:
7 1 92
12
16 11 12
17 13)
19 19 3 (and descending)
3 10
4 25 FIGURE
3a
3b E17Mixolydian
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B7 7
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0
46 15
3 A7
5 2
9
10
12
19
21 2nd stg.
2020E7
1/2 0 14
FIGURE
2a
FIGURE
2b 2E Mixolydian
Guitarists of all genres use double- FIGURE

0
0
4
0 let 0
0
3
2
0 2
4

ring
throughout
let
ring
throughout

progression
0
3
2
2
0

stops to create interesting harmonized


191 212 213 4 5 6 b7 8 (9 101 112 120 13)2 3
2 4 0 5 27 9 2 10 12 14 intervals:
16 17
10 1
(and descending)
or E7
A7
B7
2 4 3 5 7 9 10 12 14 15 17 19 21

0 3a
0E Mixolydian
2 or A7
2
1on 1st stg.
0 20
E7
melodic riffs and solos. Youll find them
FIGURE
FIGURE
3b
E
Mixolydian
on
2nd
stg.
2 02 0 30 2
0
0 2
4
1/2 0 2 4
let ring throughout
0 let 30
2
2
0
0 2 3
0 2 4
in the playing of blues pioneer T-Bone
1
1ring throughout
0
2
2
1 2

0
0
2
4
5
7
9
10
12
14
16
17
19
21
21
0
0
2
2
1
0
2
4
19
19 17
17 16
16 14
14 12
12 10
10 9
9 7
7
5
5 4
4 2
2 0
Walker and rock and roll legends
0
2
3
5
7
9
10
12
14
15
17
19
21
2
2
0
0
0
2
2
4
21 3a19E Mixolydian
17
15
14
12
10 FIGURE
9
7
5 on 2nd
3 stg.
3b E Mixolydian
FIGURE
0 2 1/2
4
Chuck Berry and Keith Richards as
0 let0ring throughout on 1st stg.
Thirds
in
E
Mixolydian

let ring throughout

well as the blues rock of Eric Clapton,


00 2 4 5 7 9 10 12 14 16 17 19 21
0
0
21
FIGURE
3c
EE Mixolydian
on
3rd
FIGURE
4a
G and
B stgs.
FIGURE
3a
Mixolydian
on
1st
stg.
FIGURE
3b
E
Mixolydian
on
2nd
stg.
0
2
3
5
7
9
10
12
14
15
17
19
21
1/2
letring

Johnny Winter, Jimi Hendrix, Stevie


3
3 let
3ringthroughout
3
3
3
3
3 let ring3throughout
3
3

throughout
0 0

Thirds
in
E
Mixolydian
Ray Vaughan, Gary Moore and Joe
0
2
3
2
0
0 2 4 5 7 9 10 12 14 16 17 19 21 21

0 E
012
1
2
4
2
1
1
2
4
6
7
9
11
13
14
16
18
19
21
0
2
3
5
7
9
10
14
15
17
19
21
FIGURE
3c
Mixolydian
on
3rd
stg.
FIGURE
4a
G
and
B
stgs.

Bonamassa, and the heavy rock of


2
let0 ring throughout


Led Zeppelin and Black Sabbath. You
0 0 0

Thirds
in
E
Mixolydian
0
0
0
2
3
2
0
13c E2 Mixolydian
14a G2 and4 B stgs.
will also hear double-stop lines in the
2 01
4 6 7 9
FIGURE
on 11
3rd13
stg.14 16 18 19 21
FIGURE
2
classic metal of Judas Priest and Iron
FIGURE 4b
FIGURE 5a q. = 120
descending)
let ring throughout
(and
Thirds
in E Mixolydian
0 0 0
0

Maiden, Metallica and Megadeth, all


let ring throughout
0
2
3
2
0

4a
3c01 E22 Mixolydian
FIGURE
stg.14 16 18 19 21
FIGURE
1 G2 and
4B stgs.
2 01 0
43 65 77 on
99 3rd
11
13
10
12
14
15
17
19
21
2
the way through to the progressive

let

0 12
1 ring
2 throughout
4 6 7 9 11 13
14 16 18 19
21 descending)
2
FIGURE
4b
FIGURE
5a
q.
=
120
(and
0 0
0
and black metal sounds of Children of
0

01 22 34 22 0 001

2 4throughout
6 7 9 11 13 14 16 18 19 21
0
Bodom and In Flames, not to mention
100let ring
2

2 3 5 7 9 10 12
14 15 17 19 21
0
2

2 4 6 7 9 11 13
14 16 18 19 (and
21 descending)
2
the contemporary pop guitar stylings of
FIGURE
q. = 120 0 1 0
014b
5a
E7
FIGURE
John Mayer and the Black Keys.

let ring
00 0

throughout 0 0
0
0

108

GU I TA R WOR L D

0
0

0


0
0

b2

0
2
3
3
2 0
3G3 G3 2 0
4FIGURE
2 5a0
q. = 0120 0 01 0 01

0
0 0 0
22 00 0 0000 01 00 010
12 14 15 17
0 19 2 21
3
3
2 4 013 G 322 34G 3 56 0 7722 9900 10
11 0
13
14 16 18
1 19 2 21
4
4

E7 5b
FIGURE
q = 82
0 0 0
0 0 0
0
E7
0
0

2 4 3 G 3 G 3 0 22 2 00 3 0 5 017 722 5 34 3 2 34 022 00 0 0 0 0 00 01


0
E7
FIGURE
q = 82 1 2

5b
72 6 3 4 2 3 0 02
3 E70 2 0 4 06 0 0 07
3G 3
0

0 0 0 0
G
0 2 3 5 72 90(1)10 012(1) 14 15 017
21 descending)
2 4 4b
1 192(and
4
FIGURE
1 2 4 6 7 9 11 13
14 16 18 19 21
E7 let ring throughout
(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)
(1)

(1)


0
2 2
2 2
0
2
2

0 2
2
2 2
2

FIGURE
3a
E
Mixolydian
on
1st
stg.
FIGURE
3b
E
Mixolydian
on
2nd
stg.
ring throughout
1/2(and descending)
let
letFIGURE
FIGURE
4b
5a q. = 120
0 0

ring throughout
0
Thirds
throughout
0in E
2 Mixolydian
3
2
0
0001let
0 ring

let 2ring
1
2
4
2
1
2 44throughout
6 7 7 9 910 11
13
14 17
16 19
18 21192121
5
12
14
16
FIGURE 3c E Mixolydian on 3rd stg.
FIGURE
4a 3G and
B stgs.
2 15 17 19 21
0
2
5
7
9
10
12
14

0 2 3 5 7 9 10 12
14 15 17 19 21
0
2

q. = 120 0 1 0 2

2 throughout
4 6 7 9 11 13
14 16 18 19
21 descending)
(and
FIGURE
4b
5a
01 ring
let
FIGURE
2 Mixolydian
0 0
Thirds
in E

0
2
0

let
ring
throughout
3c
0 14a G2 and34B stgs.
0
2
10 E
2 Mixolydian
4 6 7 on
9 3rd
11 13
01
0
FIGURE
stg.14 16 18 19 21
FIGURE
2

0 2 3 5 7 9 10 12
14 15 17 19 (and
21 descending)
0
2

FIGURE
4b
FIGURE
5a
q.
=
120
let

ring
throughout
21
01
1 2 4 6 7 9 11 13
14 16 18 19
2
E7 0let
ring throughout

Thirds
Mixolydian
21
34
22 0001 0 0 0 0 0
3c
014ain GE22 and
0 15

10 E
22 Mixolydian
43 65 77 on
99 3rd
11
13
140 14
16
18 17
19 19
10
12
21
0

FIGURE
stg.
FIGURE
B
stgs.
0
0 19 2 21
3
3

2 4 4b
descending)
0 12 0 01 22 22
13 G 32 4G 3 6 72
14 16 18
2 90 11 13
0
1
2(and
4
4FIGURE
0
FIGURE
22 5a 00 q. = 120

ring throughout

E7 let0let


throughout
22 0001 0 0 0 0 00
103 ring
0 19 21
0 18
3 01 0 222 034
2 4 6 0 7 9 11 13 140 16
0 19 2 21
3
0
2

0 G 32 3G 3 5 72 90 10 12
14 15 17
0
2

2

0 q.
0
1 19 2(and
4
4FIGURE
2 5a
0
FIGURE
= 120
01 01 2 2
1
2 4 6 72 90 11 13
14 16 18
21 descending)

2 E74 4b

0
0let
FIGURE
5b
q
=
82

0 2
0 0
0 0
2 3 3 0 2
throughout
0 2 0
0 0
0 0
3
3 E7
0
0
2 4 003 G ring

G
2 0 0 0 0 01 00 1 22 2
2 3 5 72 90 10 12
14 15 17
0
1 19 2 21
4
4
1 2 4 6 0 7 2 9 11
21 descending)
E7 4b
3 13 14
5 16
5
3
2 FIGURE
FIGURE
= 120

0 1877 1977(and
0 00 5aq.
4
6
6
4
2
0

FIGURE
q = 82 01 2

0
0
5b

let
ring
throughout

0 0
0
0

E7
0
0
0

34 34 22
0
2
2 4 03 G 32 03G 3 5 722 900 10 12
14 15 17
00 0 0 0 01 00 01 22 22
0
1 19 2 21

1 2q =82
4 6 0 7 2 9 11
187 197 21 5
3 13 14
5 16
3
2
0
FIGURE
E7 5b
7
0
4
6
7
6
4
2
0
E71 2
00 0 00 00 0 2
FIGURE
0
0
2 4 5c03 G q3= 082G 3 E700 22 2 00 3 0 050 0 017 722 5 34 3 2 34 0 220
6
0 0 0 0 0 1 2
4
7
7
6
4
2
E7 5b
FIGURE
q =82 1 2

34 0 0 0 0

3 q3= 0823 E7034 2 56 0 77 099 0 010


10 9 7 5 034 2
11
FIGURE
0 0 2
0 112 9 37 6 3
0
2 4 5c
0
G
G

2
0
0
1
2
4
4
2
7
7
5
3
2
0 1 20
00 0 0 00
5b q =0 82 E701 22 34 56
FIGURE
7
7
6
4
2
0
G
3
5
7
9
10
10
9
7
5
3
3

FIGURE
5c
q
=
82

E7
0 E704 6 7 9 011
00 0
11
9
7
6 04
4
0

0
2
3
5
7
7
5
3
2
0

FIGURE
5d
q
=
82

5b q =0 82 31 52 74 96 107

FIGURE
0
0
107
96
7 4 5 2 3 0 3 0 0
G

4
6
7
9
11
11
9
7
6
4
4
E7

FIGURE
12
14
14
12
9
7
7
10

5c

q = 082 E777 99 10
11 13 14 14
13
11 9 7
7
0
0

FIGURE
7
7
5
3
2
0

0
0
0
5d q =082 01 22 34 56

7
7
6
4
2
0
0

0
0
0
10
9
7
5 3
3
q =082 734 956 77 10 99 12 10

FIGURE 5c
11
11
9
7
6
4
4
14
14
12
10
9
7
7

5d q =082 E77 9 11 13
14 14
13
11 9 7
7

FIGURE

0
0
0
FIGURE 5e q =082
G

0
5c
0 734 9956 77 10
9 12 1014 1014 912 710 5 9 37 3477 0
G0

11 9 13 1114 1114 913 711 6 9 47
FIGURE
12
14
15 15
14
12 10 9
9
5d qq ==8282 99E77 10
FIGURE

11 13 14
16
16
14
13 11
9
9

00
00
0
FIGURE 5e q =0082
0
G

0
1014 912 710 5 9 37
37
0 7734 9956 77 10
99 12
10
0
0
1114
1114 913 711 6 9 47
47
G
11
13
14
12
14
15 15
14
12 10 9
9

82 99 10
5d
FIGURE
11 13 14 16
16
14
13 11
9
9
FIGURE

5e qq == 82

00
00
0
G

0
FIGURE 6a q =0072

9 12
10 14
12 15
14 15
14 14
12 12
10 10
9 79
7
0 0E 9977 10
0 17 G 019 19 0
149 14
13 10 13
11 11
9
7914 79
16
9 16
12
3 1192 5 13114 7 51413 9 7 1614
5d
FIGURE
10
12
14
15
17
19

qq ==2082

21G 0
FIGURE
5e
82

00
00
FIGURE
6a q =072 E 7 9

0
G

10
12
14
14
12
10
9
7
7
0 97 1092 12114 51413 7 1514 15149 1413 10 12
11 10
9
12
7914 79 16 19 17 21 19 19
9 11
1610 16 12
14
13
5 13 7 14 9
14 11 15 9 179
q =272
6a
FIGURE
5e
82 3

0
0
E
G 00
00
0 0
0
414
514 12 7 15
127
19 19 17
162 1612
14
12 10
1010
9 12 910
7914 5 9165 4 17 4 2G 19 2 190
917 10
159 14

5e21 q =282 199 3 11 175 13 715 14 9 141610 16 121214 131014 11 159 9 1797 19 5 21 3

FIGURE
FIGURE
6a q = 72


E
0
0
0
0
G

0
19
19
17
17
16
16
14
14
12
12
10
10
9
9
7
7
5
5
4
4
2
2
0

0 9 102
4
514
7 15 159 14 10 12 10
12
17
19 19
12
914
9 16

6a213 q =272 193 9 3 11 1735 13 7153 14 9143 1610 16 123 1214 1310143 11 1593 9 17973 19 53 21 33

FIGURE

19
19 017 E 17 16
16 14
14 12
12 10
10 9
9 7
7
5 5 04
4 2G 0
2 0
0
0
21
19
14
716
5
3 19
0
2 17
4 15 5
7
9 12
10 10 12 9
14
17
19

17
19
21
3 2 3 3 3 5 73 9 3 10 3 12 143 153
3
3
3
FIGURE
6a q = 72
2
E
0
19
19 17
17 16
16 14
14 12
12 10
10 9
9 7
7
5
5 4
4 2
0
0
2 17
4 15 5
7
9 12
10 10 12 9
14
16
17
19
21
19
14
7
5
3 19

3
3
3
3
3
3
3
3
3
3
3
2
3
5
7
9
10
12
14
15
17
19
21

10
5
6 12
7 148 169 1710
0 2
4
91 10
19 21
2 21
3 0
4 2
5 4
6 b7 80 2(9 310 511 7 12 9413)
(and
descending)
3 17
321
3 19
10 3
12 14 15
7 1/2
7 7 3b
7 E Mixolydian7 on 2nd
7 stg. 7
2E
47 7 7 FIGURE
Mixolydian
0 02
4 0
0 2 3
let ring throughout
1 2
21
2 21
3 4 5 FIGURE
6 0
b7 2
80
(9
10 11 12 13)
(and descending)
4 Mixolydian
3b
E
stg.15
3 17
0
2
3
5
7
9 on
10 2nd
12 14
19 321
1/2 0 2 4
0 2
4
2E Mixolydian
4
let ring throughout
0 2 3
Thirds
in
E
Mixolydian
21 21
1 2
511 7B
9 13)10 12 14 15 17
19 21
0
4 3G
2 3 0
4 2
5 4
6 FIGURE
b7 2
80 2
(9
10 and
12 stgs.
FIGURE
3b 4a
E
Mixolydian
on 2nd stg. (and descending)
2 1/2
4
0 2
4
let
ring
throughout
0 0
0 2 3
Thirds
Mixolydian
0 0in E
2
0
1 0
12 2 3
0 12 4 0 5 27 92 10 12 14 16 17 19 21 21
210 0121 14 15 17 19 21
1 0E
2 Mixolydian
42 6 2 7 1on
9 3rd
11 13
0 3c
0 20
3G2 and
5 47B stgs.
9 on
FIGURE
stg.14 16 18 19 21 0 2 FIGURE
FIGURE
FIGURE
3b 214a
E4 Mixolydian
2nd stg.
2
2 3a 2E Mixolydian
0
0
2on 1st stg.
4
1/2
ring
throughout
0 let
0
0 2 4
Thirds
in Ethroughout
Mixolydian
let ring
0 0 0
0let ring throughout
3B stgs.
2
0
0 2
4 5 7 9 on
10 12 stg.
14 16 17 19 21 21
0 0
FIGURE 3c
FIGURE
4a 3G22 and
1
1 E
2 Mixolydian
4 6 7 9 3rd
11 13 14 16 18 19 21
0 2
5 47 9 210 0121 14 15 17 19 21
2
0 0 02

4 2 5 27

intervals:1
5
9
2 or6E7
2 5 A7
0 8 or A7
0
2
E7
B7
FIGURE
7
7 7 7 on
7 1st
7 stg.
7 7 70
0 3a7 0E7Mixolydian
FIGURE
FIGURE 2b
0 2a0 key0of EIIVV
3
2
0 let 3ring
2
2
0
throughout
1 0 12progression
27 92 10 12 14 16 17 19
40
0 3a
0E Mixolydian
2 5or A7
2
1on 1st stg.intervals:1
FIGURE
E7
A7
B7
2 or E7
2
0
0
2
0 let
0ring
0
3
2
0
throughout
FIGURE
2a
key
of
EIIVV
FIGURE 2b
0
3
2
2
0
4 0 5 27 92 10 12 14 16 17 19
1 0 12progression
0 0
0
2
2
1
intervals:
1
FIGURE
stg.
E7
or E7
A7
B7
2 3c
2E
0 or A7
0
2on
FIGURE
3a
E Mixolydian
Mixolydian
on 3rd
1st stg.
0
0
0
ring
0 let
0ringthroughout
0
3
2
let
throughout
0
3
2
2
0

Lets begin with a look at doublestops wherein the lower note is the
rootA in this caseand the higher
note creates the harmony, as shown in
FIGURE 1a. I begin by placing C, the
minor, or flat, third (f3) above A. This
is followed by Cs, the major third (3 or
natural third); D, the fourth (4 or perfect
fourth); E, the fifth (5 or perfect fifth);
F, the minor, or flat sixth (f6); Fs, the
sixth (6, natural sixth or major sixth); G,
the dominant, or flat seventh (f7); Gs,
the major seventh (7); A, the octave (8);
Bf, the minor, or flat ninth (f9); B, the
ninth (9); C, the raised, or sharp ninth
(s9), Cs, the 10th (10); D, the 11th (11); E,
the 12th (12); and Fs, the 13th (13).
Another popular double-stop sound
is that of seconds, as shown in FIGURE
1b. Adding B above A creates the sound
of a major second (2); adding Bf creates
the sound of a minor, or flatted,
second (f2). This more jarring sound
is common in the music of Korn and
Slipknot as well as modern progressive
metal bands, such as Periphery.
As mentioned earlier, doublestops are commonly used in blues and
blues rock, most often in the form of
harmonized thirds and sixths played
within the context of dominant
(i.e. Mixolydian) keys, and built from

GUITARISTS OF ALL
GENRES USE
DOUBLE-STOPS
TO CREATE INTERESTING
HARMONIZED MELODIC
RIFFS AND SOLOS.

progressions of dominant seven chords.


FIGURE 2a illustrates the I, IV and V
(one, four and five) chords used in a
typical 12-bar blues progression in the
key of E: E7 (the one chord), A7 (the
four chord) and B7 (the five chord).
The scale most closely associated
with the root chord in this key, E7,
is the E Mixolydian mode, shown in
FIGURE 2b . Memorize the scale in
this position as well as the intervallic
structure of Mixolydian, which is 1 2 3
4 5 6 f7.
A great way to familiarize oneself
with the quality of each interval is
to play the entire scale up and down
one string against the root note. E is a
great key with which to do this, because
we can use the open low-E string as
our root-note pedal tone, as shown
in FIGURES 3ac. This is especially

(1)

(1)

(1)

(1)

(1)

(1)

(1)

19

21

19 17

19

21

19

17 16

19 17

19

(1)

(1)

(1)

(1)

16 14

17 16

(1)

17

17

15

14 12

16 14

15

0
0
0
0
0
0

14

12 10

14 12

14

0
0
0
0
0
0

10 9

12
3

12 10

10 9

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

10

9 7

12

(1)

10

(1)

(1)

(1)

(1)

(1)

9 7

5 4

(1)

(1)

4 2

5 4

2 0

2 0

4 2

18

19

0
3

FIGURE 6b q = 72

E
1

11

12

11

14

13

14

16

16

18

19

21

19

0
19

21

19 18

19

18 16

18

16 14

16

14 13

14

13 11

12

11 9

11

9 7

6 4

4 2

2 1

0
3

0
01

2
2

FIGURE 7 q. = 120

E7
2

3 3

E7

0 0

2 4

2
2

0
0 (1) 0 (1)

5
6

2
2

7
7

8 8

0
0 (1)

0 (1)

7
7

GU I TA 0R0WOR L2D

5 5

5
5 (6)

5 (6)

0
1

109
0

2
2

FIGURE 6b q = 72


E1
2
4
6
7
9
11
13
14
16
18
19
19

4
6
7
9
11
12
14
16
18
19
21
FIGURE 6b q =2 72

E1
2
4
6
7
9
11
13
14
16
18
19 19
4
6
7
9
11
12
14
16
18
19
21
FIGURE 6b q =272
E1 2 4 6 7 9 11 13
14
16
18
19 19

2
4
6
7
9
11
12
14
16
18
19
21
0
q = 72 1 2 4 6 7 9 11 13

FIGURE
6b

14
16
18
19 19
19
19
18
18
16
16
14
14
13
13
11
11
9
9
7
7
6
6
4
4
2
2
1

21 2 19 E 4 18 6 16 7 14 9 1211 1211 149 16 7 186 194 21 2 0

FIGURE 6b q = 72
0
19 19 18 18 16
9 7
7 6
6 4
4 2
2 1
21 19 E1 18216 14 164 14 13614 13 117 12 119 9 11 11
190
9 13
7 14
6 16
4 18
219

3
3 9
311
3
2 3
4 3
6 3 7
12
143
16 3
183
193
21
0
19
19
18
18
16
16
14
14
13
13
11
11
9
9
7
7
6
6
4
4
2
2
1
FIGURE
216b q = 1972 1 182 164 614 7 12 9 11 11 9 13 7 14 6 16 4 18 219 190
37 q. =2120
3 E 4 3
3 9
311
3
FIGURE
6 3 7
12
143
16 3
183
193
21

0
19
19 18
18 16
16 14
14 13 E7
13 11
11 9
9 7
7 6
6 4
4 2
2 1
0
04
21
19
18
16
14
12
11
9
7
6
2

FIGURE
7 q.q==120

3
3
3
3
3
3
3
3
3
3
3
0
2
3
3
2
0
0
2
FIGURE
6b
72
1
2
4
6
7
9
11
13
14
16
18
19
018
1
0 19
2 E 40 1 6 2 7 2 E794 11 12 14 2 160
21
0 22
0 190

FIGURE
7
q.
=
120
19
19
18
18
16
16
14
14
13
13
11
11
9
9
7
7
6
6
4
4
2
2
1
0
2
3
3
2
0
0

3
3
3

3 00 1813 0 2163 0 1432 E74 123 0113 0 093 2 073


0 21
00 2
0
0 6 4
19q18=1972

216b
FIGURE
1 16 216 14 4 14 136 13 11
7
11
13
19
18
119 9
9 7
7 6 0 14
6 4 16
40 2 0 18
2 1 0190 19 2
FIGURE
7
q.
=
120
0
2
3
3
2

2
4
6
7
9
11
12
14
16
18
19
21

0 2
011 0
09 2
0 21
0 2
0
19
16 0 14
12
7
6 4
E 00 18
E7

2
1
4
0
0

E721

3 3
3
3
0 0

3
3
3
3
3
3
0 03 5 5
0 0
0
2
3 37
2
0
0
2
37319q.3 18=120

0
019 2 2 0
7
9 9 0 011
16
19
13 511
11
9 780 813
6 7
40 5
4
2 5 18
2 01 119 0
27 6 03 14

E7
4
034 147 13614
7
9
7
5
1
2
FIGURE
32 94 6
3
3
3
3
3
40221813 216000
614 216

21 2 193 181 016

11
12
149
16 7
186
194
21
12
11
0 0 E7
5 5 2

3 3
2 00
5
7
5 0 0
00
0
0 09 80 8 0 0 0 7
0
0 0 0 2
00

0 00 20 0
5
5
5
0
E7
4 7 q. = 0
0
6
7
7
5
5
1
2
FIGURE
120
0 22
23 0 0 32 E74 3 3 3 3 3 22 003

19
14 13
13 11
11 9
9 7
7 0 60 06 40 3 4 2 3 25 15 1
2133193 180193 018 0160221813 1600 14 216
5 0 04
14 5 5 12
5 37
5 11 9 898 2 07 7
E7

20 0 01 02 22 00
4
0
6
7
5
0
2
3

00 1 0 2 00 0
0 0 0 2 0 B7 70 65

2 4
FIGURE
5 05 1 0 00 2

E7 73 q.3 = 0120

0
0
0
0 2
E7 5 05 70 5 0
2 0
8 8
7 5

0 1 0 2 0
19
13 611 3 G 11
4 3 540 9
2 5 21
4 3 19318
23 16
0 14 032 14 13
7 9 3G 9 7 G 30 7 6 3 67 7
3 018 0016
3 5
3

0 16
00
011 0
09 2
0 20 0
21
19
18
14
12
7 B7
6 9 034 7
E7

4
2
0
0
8
8
0
2
3
3
0

E7

2 00

0 0 0 1
2
05 G 0 5 G 0
0 2 0 00 0 0 5 59 1 00 7 02
G
00 0 2 54
73 q.33 = 0120
FIGURE

3
2
7
9
7
7
01 22 5
8 8
E7
0 02
7
4
0 5
9 5 8
E7
3 00 2203 000
4E7
6 3 7 0 3 09 03
3
3
3 0000
3 B78 77 3755
0
70
0 03 5 059
0 0
0
0

G
G
0 0 22
3 G 37
2 0 00 07 7 5 9
0
0
7
333 3
2
5
8
8
0 2 2 5

0
0 22
7 0 B7
7 9
0
2
1
4
2
0
1
2
E7

4 7 q.= 0
0
0
8
8
0 00
5
5
5
0
0
0

4
2
0
0
6
7
9
7
5
5
1
2
FIGURE
120

9
7

1/2
E7
0 G0
E7A7

G 00 0G 0 0 7 0

(etc )
07

3 3
2 0 0 0 E7
9 0 75 0 5
0
0
0
0
0

0
0
0
7
5
50 5 35 37 5
0 8 70 5 9

4 3 3 0 0 0
2
0
8 0 0 0 02 2 0

0
2
2
0

2
0
8
8


7 9

09 1 71 2
2 E7
4 6
2 1/20 B7 70 5 5
4A7
1
2 2 2 (etc )
E756 77 560 07210 0 20 220 2 1
2
0 G 00
0
0 0 70 0 0 0 7
5
E75
G

25
2G 01 0

3 073 0 500
2 00
7
9
70 0 0 0 20

1/2
0
0
0
0

5
5
0
E7

22 2 0010
A7
E7
6
6
4 5 7
0
3 00B78 700 5 9 085519 070 2 2 0(etc
)
3 3
2 0 2
7
2 5 0 700 0 8 08
45
6 2 G7
1 2 2
2G 91 0G
3 73
0
7 7 5 9 5 7 0
50 20 0 0 02

1/2

5
3
0
0
0
0
0
7
7
4
2
0
0
8
9
8
E7
E7A7
6 in E
7
6
0
ixths
5 519 0 7 20 (etc
Mixolydian
50 )
2
0 0 0
2 2 010
E7
0 B7
0
5 0 1 80 8b
0 0 0 7
52 descending)
5
(and

FIGURE

0
5 8a
50 20 0 0
0
2
3 35 7
5 02 G 70 2FIGURE
8
7
5
0
2

5
ixths
Mixolydian
70 G 9 G 3 1/27 0 78 70 75 99 5 078 1 0(and
3
0
73
6 2 0 202
1
4 6 in E
6
2 0
1 2descending)

4
2 2 0 (and
02 descending)
7
2
A7
E7
FIGURE
8a
FIGURE
8b
(etc
)
9
7
2
2
1
0
0
0
0

0 52 4 5 7 9 10 12 14 16 17 19 19
descending)
E7 in
0(and19
0 0 0
5
5
0
0

ixths
E Mixolydian
210
0 5 0 00 231/273 05B7 70 79 10 12 0140 15017
0 13 1416
A7

5 1 2 7
50
2
09 11
5
0
4
6
7
18
19
19

E7
G
G
G

6 8a
73 5 6 7 9 10 12
2 2 14 016
1 17
(and19
descending)
08b 2 4 0 6 7 70 9 1199 12 78 141 16 18(and192descending)
FIGURE
FIGURE
21 (etc )
0 3
2 4
19 0
7
2
2 2 0
02
12 14 15 17 19 21
ixths
E Mixolydian
E7456 in
2
2 1 0 0 2 3 5 8 7 9 10
7 6 5 7 9 11 13 14 16 18 19
0
2
1 52 4
19

3 4 06B7 70 9 11
0 1419 16 18
07 19
7
6
2
1
2

(and
descending)

0
2
12
210
FIGURE
8a
FIGURE
8b
1/2
14 16 17E7
19

19descending)
20 12 2
A7 0 2 4 5 07 709 10
0 G 00
0
0
(and
7
7
5 )
16 18219
21 (etc

2
2G 1 0G 0 2 3 0 5 7 70 9 10

9 12 714 15 17

1 q53
2= 843 6 7 9 1113 2
14 0
19 19
3
0
0
0
0
4
2
0
0
8
9
8
FIGURE
9

ixths
E Mixolydian
56 in

5 7 9 10 12 14 16 17 19 19
2 210
0 2 4 6 7 9 11
12 1409 16 18
19

0 2 7
4
5

7
7
6
2
1 (and descending)
1 15 17 19
2 21
0
2
3
5
7
9
10
12
14
A 20 13 214 16 182 19 19 0
E 8b 1/2
FIGURE
8a
A7 Ein
2
(and
5
FIGURE
91 qE
= Mixolydian
84 6 07 709 11
ixths
E7 14
12 2FIGURE

descending)
2
1
0 0 23 74 006 700 79 11 12

)
210(etc
5
0 14 16 18
0 19

(and descending)
14
12
12
9
9

E
A
E

FIGURE
8a
FIGURE
8b

5 0 2 7
0
4 595 711 9 610
12
149 16
17 19 19
(and2descending)

7
9
11
13
9
9

FIGURE
9
q
=
8

21
0
6
7 7 9 96 117 7 2 92 112 1
A76 in
90 112 1/2113 95 117 99 10 127 141 15 17192
2 1914
411 6 7 9 11
14 16 18E7
19 12
ixths
14
12
13
E9710 qE522=9Mixolydian
2 12
2 1E9
090 2 4 6 7 9 11 12 14 160 18 19 21 (etc )
4 59 711 9 A610
12
19 19
7 9 149 16
1117
13
9

(and descending)
0 14 1517
0 19 210
FIGURE
8
8a
FIGURE
08b 11
23 3 095 70 9 10 12

6
7
9
9
11
7
9
11

(and
5 7
22descending)

12
1 29 7
411 6 5 7 9 11 13 14 16 18 1914
19
11 9
7 0

7
6
1
14
12
12 E9 90 2 11
2
4 6 7 9 11 12 141 160 18 19
21
6 Ein
0
9 117 A6 2 7 9 2 9 11 2
13
9
2q 7=Mixolydian
9


ixths
0 E
480
19
2 12
2 1 0
6
9 59 711 9 710 12
9 1114 16 17 1914
11
9
FIGURE
10

3 05 11
70 99 10 1270 14 15 17
0 19 210
7 q5=98 11
FIGURE
98a
14
9 908b 23 11
12 12
FIGURE
(and19
descending)
137 9 149 16G1118
FIGURE
19descending)

1A
9 611
19
(and
13 9 90 2 D4 6 7 9 11 12A 14 16018
2 4 9 699 711
21

FIGURE

6 q 7= 80
11 A
7
9 11
11
9
E10
E

8
8
FIGURE
9710
qE=9Mixolydian
81011
11
11 9
7

ixths
in
A
G
D
A
0112 4
19
9 5 9 7 9 10 912 14 16
9 17 71914
7 12 7
7
0
7 E9 908b 2 73 5 7 7 9 10 12 14 71517 19 21
(and descending)
1410 12 9 12FIGURE
A 9
8a
FIGURE
q = 480 6912711 11
E10
(and descending)
110
2 10
9 611
13
19
10
9
7
7
7 12
9 149 16
13
9
9
81118 819

2 D4 96 7 91011 12A
21
9 14 16 18 19
611
A 7 9 9 99 11 9 7 9 9 11
G9
7 147
7 0 11
12 7
FIGURE
910
7 q q=9=880
11 12 11 9
7
711
711 9
7
1410 12 9 12 7 9
9

FIGURE
010
2 10
4 59 711 9 610
12
17
19
19
0
10
9
7
7
7 12
9 149 16
11
13
9
9

3
3
3
3
14 7151719 21
E67111A 2 79 49119 69129711 1199 A711 99139 1114 16G89 18 8719 19107 79 77 E
0 112 D7113 95 7117 991010 12A97
12
0 2 4 6 7 9 11 127 14 160 18 19 21
FIGURE 11
q =10
3
3
38 14
12
14 12
12 3FIGURE
9 109 12 q9= 17 7
10q = 8
8
9

FIGURE
9

Em
10 Em
FIGURE
10
q = 980 99F 11 9 6 9D/F#
7 9 9 911 G7
9
11
7
7 13 7 9

6
7
9
9
11
7
9
11
12
11
9
10
9
7

FIGURE E11
=3 11
FIGURE
= 179 7711 9 A77 7
A 3
E 10 1211qD7911
G
7 A 3q 9
3
3
12

0
3 5 3 1 G
3 5 3
FIGURE
10 4q 55= 3480 12 F34 55 12 D/F#

10 Em 9

Em
144
12
4
5
4
2
4
5

8 14 12
FIGURE
910
9 9
9 9 8
A q q==810
G8
12 FIGURE
11
FIGURE
12 qD= 175 5 4 5 A
11
9 115 9 16 39 7 9
7 7 6 7
3 5 393 1 9
3 59 3 9111 337 5 10
37 7 13 37 9 9
12F3
9D/F#
E
6 4 7
9 11
11 7 9 7
0 0 0 7 0 0 0 109 109 98
Em
Em
5 49 2 9
411511A
27
4 5 48 2 G
48 5 4 9 7 E
12
10
911 5 711

710 q 9=10
11
9 5 77

FIGURE
10
80
5
4

11 q = 9
9
9
9
9
7 147 12 7
7
FIGURE
11
FIGURE
12 q = 177 7 6 10 7 9
0
10 10 9
3 5 3G 1 3 51410
3 12 9 12 7 9 9
A7A5
D7 7
Em
A 34 55 334 12 912F34115511126 39D/F#
0 0 0 7 00 0
4 59 4 112 G
43 5 4
12
9
7
7 9
13 3 9 10
9
5 Em
Em 9 9 8

5 5 4B10
5 9

610
7 109 9 11 7
9 11
11
9

8
8
10 10 9
10
7113q 9
11 1 93 5 9 1 9
7
5 93
3 5 3 9 1 37 5 37 7
7
12 q711=177 7117 6B9 5 7 A5
FIGURE
80

0 0 0 0Em
0 0
11
3FIGURE
4 5=34
2 124 5112 39 4 5 4 2 43 5 10
4
9
7
7 0
9 Em
5 A
9 9 8

A
D9 8 5 7 5 4 Em
12 11G 12
10
7
12
12
9
9
5
5
F
D/F#
G
7 7 6 10
7 97
10 4
10 9

10
14
14
13
14
10
10
9
8
8
7
7
6
FIGURE 110 q 0= 0 0 0 0
FIGURE 12 q = 17 B65 6 A5
05 0 0 0Em
0 0
0 0 0 0 0

3 5 10
3 1 3 5 1 12
9 Em
FIGURE
109 1097 89 7 8 Em
1010
1234 551134 89 12 12G34387 550 10347
5 5 4
39D/F#
37
11 q =3980 9F
9
7
10 A 4 5 4 2 124 511214
85 A 7
9 14 13G 14
9
7
7 7 7 9 69 8
5
5
4

D
03 5
0 30 1 03 05 01
0 30 0 0 0 0 10
5 Em
12
9
7 7 6B65 67 7A5
7
10
10
9
3
5
3
1
3
5

FIGURE
FIGURE
9 11104q 5=104 2 4 5 2 12 124 5114 8 2 1248 5 4
12 q =17
10
90 0 0 0 50 05 4

10Em110 0 390 90F 0 901439D/F#14 139 14G37 0 7


85 7
7 7 9 69 8
0 370 0 109 109 89 57 57 46 86 Em
0 07
67 5 7
10 10 9
12 11
9
10
9
7
7
7
0
0
0
0
0
0
1212511
10
3 1 12
3 5 3

109 11034q 550= 340 12 034 055 012 12


109 1099 89 7 B865 86 79A575 Em57 57 46
14 143
4 513
4 2 14
4 50 40 0 0 FIGURE
FIGURE
30 0 12 q = 1757 57 46B10
57 A5 Em 109 109 89
Em
F
D/F#
G
3
3
3
5 Em
12 12 11 12
0 0 0 0 0 0
9
9 9 8
10 11034q 550= 340 12 034 055 012 14 1434 551334 12 1434 550 340 0 0 FIGURE
1012 10q =917 86 86 75 57 57 46
FIGURE
0 0
5 A5
9 Em
12 11
12
9 9 8 5 5 4B 5 Em
5 5 9 49 8
F
D/F#
G
Em

12
10 9
10
14 14 13
14
10 10 9 7 7 6 8 87 7
7 7 10 6
03 5
0 30 1 03 05 01
0 30 0 0 0 0
6 6 05 0 0 0 0 0
3
5
3
1
3
5

4 5 4 2 4 5 2 4 5 4 2 4 5 4

9 9 8 5 5 4 5
12 12 11
12
9
5 5 9 49 8

Em
10 9
10 10 9 7 7 6B85 87 A5
14 14 13
14
7
10
7 7 10 6
0 0 0 0 0 0
0 0 0 0 0 0
6 6 05 0 0 0 0 0

9 9 8
12 12 11
12
9
5 5 4

B85 8 A5
Em
10 10 9
14 14 13
14
7
10
7 7 6
0 0 0 0 0 0
0 0 0 0 0 0
6 6 5

9
12 12 11
12
9 9 8
5 5 4

10
14 14 13
14
10 10 9
8 8 7
7 7 6

FIGURE 6b q = 72

COLUMNS * IN DEEP

useful in the creation of double-stop


riffs because often these two-note
figures are played on pairs of strings
that traverse the length of the fretboard
while remaining diatonic to (within the
scale structure of) the Mixolydian mode.
Lets build on this approach by
playing two-note figures that are thirds
apart, ascending the G and B strings
simultaneously. The harmony created
will either be that of a major third (notes
that are two whole steps apart) or a
minor third (notes that are a step and
a half apart). FIGURE 4a begins with a
double-stop of Gs, the major third, and
B, the fifth. If we move up each string
within the structure of Mixolydian,
the result is the harmonized melody
shown here. FIGURE 4b expands on the
concept by carrying these double-stops
up the entire length of the fretboard.
Using double-stops in this manner
is a great way to emulate harmonized
horn parts on a single guitar, as
shown in FIGURE 5a . Moving this
concept through specific areas of
the fretboard, as shown in FIGURES
5be, will aid in memorizing the twonote patterns. Next, lets move this
adjacent-string idea up to the top two
strings, but, as shown in FIGURES
6ab, with each note of the two-note
pair played individually, as opposed to
simultaneously.
When using double-stops within a
blues progression, its common to play
Mixolydian double-stops based on each
of the three chords in the I-IV-V progression, as shown in FIGURE 7 in the
key of E.
After thirds, the most commonly
used double-stop is sixths, wherein the
two notes are six scale degrees apart.
FIGURES 8ab illustrate sixths diatonic
to E Mixolydian on the G and high E
strings as well as the D and B strings,
respectively.
Dickey Betts and Duane Allman
often performed harmonized singlenote guitar parts in the Allman Brothers
Band, and FIGURE 9 offers an example
of how to use double-stops to create
that sound on one guitar.
Jimi Hendrix o f t e n c r e a t e d
interesting rhythm parts by using
oblique double-stops, wherein one note
remained stationary while the other
changed, as illustrated by FIGURE 10.
In metal, Metallica guitarists James
Hetfield and Kirk Hammett forged
memorable harmonized parts on many
great songs. FIGURES 11 and 12 offer two
examples along the lines of the classic
Master of Puppets track Battery.

110

GU I TA R WOR L D

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

5
(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1) (6)

(6)

(6)

(6)

(6)

(6)

(6)

(6)
7

(6)

7
(6)

(1) (6)

7
(6)

7
(6)

0 0

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)

(1)
5

22

(1)

(1)

(1)

5(1)

(1)
7

(1)

(1)

7
(1)

(1)

(1)

(1)

2
2 5

25

0 (1)

(1)

0 (1)

5
(1)

(1)

5
(1)

(1)

(1)

2 5
2

5
2

2
5

(1)

(1)

25

(1)

(1)

(1)

12
12

12
12
12
12
12
12

0 0 0

0 0 0

7
(1)

12
12

12
12

7
7

7
7

12
12

00
00
00
0
0
0

10
11
10
11
10
11
10
11

7 10
11

7 10
11

7
7

12
12

12
12

(1) (6)

0
0

(6)

(6)
7

0
0

7
7
7
7

0 0 0

10
11

(6)
7

(6)

10
11

7 10
11

0 0 0

(1)

(( ))
()
()
(( ))
()
()
()

00
00
00
0
0
0

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