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The Slur

Lesson 2/67 | Study Time: 5 Min
The Slur

The Slur

The slur is one of the most popular techniques used by lead guitarists. It is indicated by a curved line joining the notes in question, as such:

The Hammer-on is performed by playing the first of the two notes, and then while it is still sounding, the left hand finger hammers down onto the 2nd note (see photos). Thus the second note (D) is not picked; the sound is produced entirely by the left hand finger "hammering-on" to the string. A hammer-on is indicated by the letter H.

The Pull-off is performed with both fingers in position before the first note is played (see photos). This is necessary because when the first note (D) has been played, the finger flicks the string as it lifts off; creating the sound of the lower note (C). The following example makes use of both hammer-ons and pull-offs. A pull-off is indicated by the letter P.

Hammer-ons and pull-offs may be played together, as in the following exercise. This exercise is continuous and only the first note in each bar is played with the pick. It involves rapid slurring and can be used for any two notes from pattern one which are on the same string.

The previous exercises can be referred to as Rock "licks". Rock licks can be defined as small musical phrases that are frequently used by lead guitarists. They involve the use of techniques such as the slur. It is most important for you to learn as many licks as possible and listen for their use in lead solos (see Appendix 4 on ear training). In the following lessons, many common licks will be shown.

Combining Techniques

Techniques can be combined to create interesting Rock licks. The following exercises use triplets in conjunction with slurs.

For exercise 29 the first finger bars across the 2nd, 3rd and 4th strings.

Play the 3 previous exercises in the following order: Ex29 Ex30 Ex31 Ex30

The following exercise consists of several licks joined together to form a solo. This solo is played over a minor chord progression. Using pattern one in minor keys is discussed in detail in lesson 12.

Gary Turner and Brenton White

Gary Turner and Brenton White

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Class Sessions

1- Sixths 2- The Major Pentatonic Scale in Blues Improvising 3- Summary of Pattern One 4- Pattern Four 5- Patterns One and Four Combination 6- The Complete Pattern 7- Summary of Patterns 8- Additional Notes - the Blues Scale 9- Major Pentatonic Scale - Additional Notes 10- Minor Pentatonic Scale - Additional Notes 11- INTRODUCTION 12- Harmony Notes 13- Open String Slurs 14- An Alternative Improvising Method 15- Playing With the Pick and Fingers 16- Ideas For Further Study 17- Music Theory 18- Improvising Within A Song 19- Modulation 20- Ear Training 21- Harmonics 22- Chord Progressions 23- GLOSSARY OF MUSICAL TERMS 24- The Bend 25- The Major Scale 26- The 12 Bar Blues Progression 27- 12 Bar Blues Riff Number 2 28- Alternate Picking 29- The Major Scale - 2 Octaves 30- Minor Key Progressions 31- New Topic 32- The Blues Scale 33- Transposing 34- The Slur 35- Pattern One Extension (Key of A) 36- Major Key Progressions 37- Blues And Rock Progressions 38- Natural Harmonics 39- Copying Lead Solos From Records 40- Introductions 41- Fretboard Diagrams 42- The Major Scale 43- 12 Bar Blues Riff Number 7 44- Left Hand Position 45- 12 Bar Blues Riff Number 3 46- 12 Bar Blues Riff Number 4 47- Octaves 48- Key Signatures 49- Riff Number 8 50- Major Key Progressions 51- Left Hand Fingering 52- Tuning By Harmonics 53- Listening 54- Fill-Ins 55- Lead Solos 56- Tablature 57- Artificial Harmonics 58- Minor Key Progressions 59- Minor Keys And Scales 60- Notes on the Guitar Fretboard 61- Ideas For Improvising 62- Scale Tone Chords 63- Modulation 64- Tablature Symbols 65- Scale Tone Chord Extensions 66- The Chord/Key Relationship 67- Chord Formula Chart

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