jimh
New Member
Posts: 12 
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Post by jimh on Sept 9, 2013 14:22:17 GMT -6
A couple of questions regarding Study 7 Double Stop Stomp. Firstly where does the last note ('E' 5th Fret b string) of the first Triplet come from.
Second to get the changing between patterns right before I go too far I take it I have to start with my index finger on the 3rd Fret using Pattern 1. Then move it down to the 5th Fret and play Pattern 2 at the end of the 4th measure and do I then have to move to Pattern 3 to play the 'D' on the 10th Fret in measure 5 ?
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JohnG
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Posts: 193
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Post by JohnG on Sept 13, 2013 11:55:11 GMT -6
Hi jimh,
T-bone got the first question right - the E is from the G MAJOR pentatonic scale, which, as he points out, you will learn later on the book. In the early studies, I sometimes put in a note or two for interest, but I did not explain. In those cases, don't worry about them. Just play the tune and know that it will be explained later.
With regard to your second question: I think you are asking about either the end of measure 4 or the beginning of measure 5, or both. The fingerings should be:
end of m.4
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JohnG
Full Member
Posts: 193
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Post by JohnG on Sept 13, 2013 11:59:37 GMT -6
Hi jimh,
T-bone got the first question right - the E is from the G MAJOR pentatonic scale, which, as he points out, you will learn later on the book. In the early studies, I sometimes put in a note or two for interest, but I did not explain. In those cases, don't worry about them. Just play the tune and know that it will be explained later.
With regard to your second question: I think you are asking about either the end of measure 4 or the beginning of measure 5, or both. The fingerings for those bars should be, starting at the beginning of m.4:
| 1 - 3 - 1 - 3 - s3-2-3 | 1 - s3 - 1 - 3 - 4 - 3 - 1 - 3 | (where an "s" means you slide on that note)
You can change the fingerings a bit, if it works better for you.
I hope that helps.
JG
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jimh
New Member
Posts: 12
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Post by jimh on Sept 13, 2013 13:31:32 GMT -6
Thanks to both of you. As far as the origins of notes is concerned I think I better stick to the old adage 'If it sounds good it is good' and let the theory come to me in time. That's pretty much the strategy I've followed in the theory I've learnt so far.
The position of my fingers as I move between patterns is of more concern to me and I shall try to follow Johns example and see how I get on.
I might be falling into the same trap of trying to over analyse things. I keep thinking I should be trying to visualize the pattern I am playing at any particular moment or is that something I needn't worry about for now?
Jim
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