IEImErl

r..l info
r.dJ 31,33
:r!. Kilminster get( the
=.i\ going with some thr€e-
1n.-per-st.ing warm-up

nling info
f-r- r- --r--r-l
.irss?t
lallns! nodcrile/hard
A ia:r ariount ofsrrenqth afd
co ordiration i5 rcqu,red lo
execute iheft exercises clearly

lt!
gl

ffih=l
moei your lulor:
dave kilminsler
I Dave is curently touring the
.:'d with lohn Wetton,
::.^ing at the Guiiar lnstitute
:-t nritinq for gl aid
:L-:'n. Hel ako recording in
-. ;{J!h of France with a band
-?-
j::t!res our very own
lr--. 6ovan on fretless bass.
:- r _r.ght into Daees
ij;r!! IJeM Pll illlilc
: ri -.ck out a re.ent
-- r. :. the web at
-"i-=. d. ch.net/-matt.willi 6 Welcome to parl two of our 'fingerbusters' feature, This month we
- -.----r c-kilminster.htm
g explore the delights of three-notes-per-string legato playing

opefully by now you're feeling hamne. lo lall

comfortable with last month's special Fiut fing€r, fifth
legato feature. If not, then you may
want to go back for a quick reftesher
course before attempting this
month's oarathon. Last month we
dealt with hammer-ons and pull-offs using only
two different notes on each strirg. Well, the
natural progression would seem to hint at using
three differert notes per string. Some people

lr-r actually find this easier as you spe[d more time

on each string, thus rcducing position shifts and
string changes. Also with three [otes on each First place your hand in this position at the fifth

7\'
string, the mathematical permutations call be a lot iret and pluck the 1ow E string (pic t). Then
more varied - the legato possibilities for two hammer down the third finger onto the sevelth
[otes on one stdng are not vast to say the ]east! ftet (don 1 pick the string agair!) and then finally

r-- Let's begin by looking at example one. The first

four bars deal strictly with hammer ons only.
(this is the hard bit) hammer the litfle finger on to
the eighth frer so rJrar your hand finishes up in

T
 lhrce in a rou
FingeB on..
thr.c .nd four
aftcr a good
hrmmcrirg
Inls posruon tsee plc 2,,
So there you have it: three notes for one pick
stroke. Continue in the same manner on each
string, picking ail the notes fr€tted with the first
finger and hammering the rest. At this point I
should mentio[ the fingering for the A, D and G
st ngs. Usually when I have this 'two tone'gap I
use my second and fourth fingers. The easiest way
to decide Ehich is the best for you is to place
your fi$t finger olt the fifth fret and your little
finger on the ninth and see which of the other
fingers {second or third) gravitates towards the
seventh fret. Decide and try to stick with it so you
have some consistency in your playing. Most
people seem to find the second easier but Paul
pullirg Douer
Th. st3rting
5 - fi$t string,
tenth fret.
fourth fingcr
n
HHHHHH
Gilbert uses his third and does okay! For bals 5-9
I use pull-offs only. This is more tricky as all the
iargon busler
fingers need to be in place before you start.
A
Picture 3 shows the startirg position for bar 5.
This terln is uted for
First pluck the D (top E, loth fret) which is beirg
notcs producrd solely
fretted by your little finger. Pull off the little with the left hand by
flnger with a slight downward motion to sound 'hamme.ing' the finger on to the
the note C which is being held down wirh the string; iti similar to thc actio,
second finger Next, pull off tle second finger of tapping with tht right hand-
(with a slight downward motion) to sound the B So why i3 it called'hammering'
with the left and 'tapping' with
note which is being held down by your first
the ight hand? Um...
finger, then move the idtial sta(ing position onto
the B string and continue in the same manner,
I R€MEMBER terms
plucking all the notes fretted with the little finger €)(Plain.d on page 92
and pulling olfthe rest. For ban 9-12 the idea is
similar but the key has changed so you have a
different fingering pattem to contend with. Bars
13-17 utilise a different legato pattem which
involves a combination of hammer-ons and pull
offs. This isn't as dimcult as it seems as the
'rolling' pattern involved is quite similar to
drumming your fingers on a desk. You'll notice
that there's morc notes per bar but actually less
picking strokes, which means the picking hand
can concentrate on keeping the other strings quiet
(more about muting in future articles). The flnal
four bars are over the key change so there's a
different scale shape; also the timing goes across
the beat a bit more due to the fact that you're
essefltially playing groups of seven which don't
go into t5 very comfortably.
Llittle and often is best: don't go mad and do
stop if you feel any discomfot. These symptoms
are usually posture telated, so you may want to
see a specialist who can tell you what you're a good eranDle
PauLGilbert, Bichie Kotzen and
doing wrong. our forthcomiflg bunch of articles Vinnie L4oore are allfansofthe
are style related... but I'm saving the identity of three-noi.s pcr string shuffle
next month's artist as a surprise! g[
HHHHH
PO PO PO PO PO
$ nortrnbrr 199s aIts l!*I. :a
mt];l
eter-ffi warming up
three notes per string

n !
PO PO PO HHHH

nHHPOPOHHHHPOPOHH
"
F
H H PO PO N H
a
H H PO PO H H

.- l'l
H H H H H H PO PO H H
PO PO -::-;-:-:-^^ ^ H HPOPOH H H H POPO H H

n- n
HHPOPOHHHHPOPOHH HHPOPOH H I.] HPOPOHH

^:^a^ -^, ^:^,

in
HNPOPOHHHHPOPOHH HH H H PO PO H H

86 | aufta]tadr af,re. november 1999

 beginners
kads3l-33lf

FN
PO PO
PO PO H H PO PO

POH H POPOH H H HPOPOH H H HPOPOH H H HPOPOHH H

1' LiE EII G- ISCO]U]LNIr \lfAI,tElilO,UrS,E

LD.

\U\LORSLR.
at least
lur,,,*,Y^
,aturday
Monday to #(##{

)'ffi Y$\egi;\o\a\ orh,(i$nn,

\i( or t\?oK, oo\ordr i:

W HUGE
510CK5
0u frarcia/ trabi/nf naart \{o don'r,hde\6i .F4.€

Arc":i:i
'a L
t,l,:.
rc
te 'r"a€.*., r-t
:
.-- -t:
7271,7,712
ai 9c o u rrt @ ?ro rn - rrru9i c.c o.uk