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Chops: Advanced Theory: Intermediate Lesson Overview: • Use enclosures to target chord tones. • Create compelling lines by adding chromatic notes to symmetrical fingerings.

• Improve your hybrid-picking and legato techniques. It can be incredibly easy to become trapped within a set of comfortable fingerings.

When that happens, your lines begin to feel stale and predictable. In this column, I’d like to introduce you to some jazz-influenced phrasing ideas that fit quite nicely in a three-note-per-string framework. The centerpiece of this concept is what’s called an enclosure. Simply speaking, it’s when you target a note by surrounding it with other—possibly non-diatonic—notes to create more tension and interest. Iblacklist Cracked Repo Ios 8. Think of short phrases that highlight certain diatonic notes on strong beats while adding chromatic notes on either side of the diatonic ones. Even with only a few chromatic enclosure fingerings under your belt, you can start to add a slightly jazzier sound to your rock licks. Each phrase in this lesson demonstrates just a small amount of what you can do with chromatic ideas.

Be sure to take what you like from the licks and try to apply them to some of your favorite rock licks. For example, I had a lot of fun mixing these enclosure ideas with some classic Paul Gilbert-style runs. Though the phrases I play here mostly use legato and hybrid picking, I encourage you to try this concept with whatever techniques you find comfortable. Before we start, it’s very important to be aware of how playing chromatic passages, especially faster ones, can affect the rhythmic and harmonic movement of your line. The enclosures I’m using in the first few examples are structured to let diatonic notes fall on strong beats of the measure or in strong segments of the subdivision.