ONTHECD & Tracks 48-52 Four To The Floor They're awkward to play on guitar, but they sound great. Shaun Baxter looks at ways of using the contemporary sounding fourth interval... shy kom teat. However, moving from a thin 2 &&55 mpsreentgine: |p Moderate/Hard Eieiedwiiabeerpaiat” | Sete soepareeattetor (arin wit arm pulled sichty baci in oder to have enough fingertip let over fete folowing note fishing with arrvreting hand pushed sighty forward. Frank Gambale is unbelievably ‘00d at this teniaue (ich be sanity 1928 furtin a ale scion o foun st ped FOURTHS ARE INTERVALS that, create an open and modern sound. They re quite dificult to “ | comes more dificult as one ties pion gute sg wana ae fe mints | eigurand acret herds Ni wens ars ‘often on guitar as on other instru- Ey some players, like Seott Hender- ments rst vison to master Son cet gt onvaitataand fasts aya agar ZEA nlivici end up stacking ter ings dv plying es it it hap a {tte an ungoay way stead pelican pee theese roe separeton tat ate ‘Alan Hosworh uses wide thats wit ech ale | avec This allows hin py td deep the vcr perfec ourthson the same sting rigs request ecae be. ‘vith he eting hand Tis. ‘nce masted they wa open te Consectne outs canbe played deertonen ond faveamiarg ‘ting sting ks For eae, ‘rete poses ‘fourth the distance TRACK RECORD | betwen ert atanithe | voecane olowedbyaater_ | dander Te | fourtnoteofamaorscle On| notefou sale notehighr. 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Thisisa reat way to both lear the neck, and to get much more mileage fom each idea, lowing you to develop t by shifting it atrally (along the length ofthe utr neck) as you Not that itis also common to shiftieas up in diatonic faiths svithin the confines of one scaler playing poston. For example Ave sift oustaring nates of A, Dard G upin diatonic fourths (Go tis caso, within the kay of € majo we would move upto the next sting hin and pay D, G and C; then up again to the next 1 and play G, Cand Fetc. OT i io | [Bars 5-6] The pice sts off wth a feo noes and power chords, st tose the cane The furthest sarsn bar Ft we get sre medium pared wide "etches, Note the octal do.bing what nats of thesame sch pled on Geet sings. The aflerence sing tienes mers that the ach Nave sgh) Siferent tne, Ths an etec used by jazz and fusongutarss omic a sznophone | Teemaue, which produces an fect ced ghosting here two cr more cnsacive | totes fan ert pitch eu shy eferent ones are ped usr deen ferns {one nate produced conventional whi he oe harmon of» ote ath ara). ‘causa ci lew (uso ie sca) {ar 81 Her. ve seethe bore ‘ecm ation, Wen acl this ‘method make sure ‘hat only one note (canbe herds any [ars 10-1] Some ues rock phases fave bean serie hare, [othe for bored eitean be head va more natal seth. None plas an entire obo ting fourths athoug slong tuts sale possage testes many onecuve ours nba 1 Fe ce 05 Gs Summer 2006 GultarTeehniques 65Wars 12] Hee, the peratonc ‘eae plays ung fourth, and Ings up wah some pil rockariuston fn tise, im ‘ming ad pce harmon) ar 16] More ssa fun then a descending Fina add rpeage.Thn shor the eet hat Canbe crested by aang a feather 3 Alston ad Wore our the other 1345 ype 2ypaggos in (uch as 103, dani hem [Bars 13 - 14] series of aspended our arpeogas Thefists Gust folomedy Asis, ous and Dust (theres an Ess inthe key of C too) Thsesapes ae thesame beeaie none of them contre the augmented Fourth marl menianedeai, betwen Fad. [ars 17:18) Ths secton fates lotic fut ranged in Ueenote ‘Ups siesta down the ents Gt he neck These re hamonsedin fourthon he backang Wak. ONTHECD %& Tracks 48-52 Sons! {ar 95) Ts bar contains series of mn ciatonic sus arpeggios Each one ofthese one ocane foums gong be (4,51 4,05) or, 4,9), because they have to certespond to each mode in thet of Corr ota win the sel. [Bars 19-211 heretn ofthe wide seer foats, but payed ung sxteenh-nte wipes. The ovsing-up effect mentioned ear wa notes of thesame ph played on ferent stings creates an Tison tata pasage sea aster han acu Tim MARA) Vd) om ommemy RABAT RAMA ARR irige ee (66 GuitarTechniqus September 2006 a a TYVYR MRRRY VV we aaa