Getting Some Movement Into It

The original misery goes to the beach.

Adrian Legg

° ™12 Œ ™ j œj œ™ ™™
& ™8 œ™ j œ j
œ™ ™ œ™ œ™
œ œ œœ œ œ œ œ™
Ϫ Ϫ Ϫ Ϫ

™12 Œ ™ ™
p m m i p hammer 1 p m p m i p

™ ™
j
p p p

™8 0™ ™ ™ ™ ™ ™ ™
¢⁄ ™ ™
0
1 0 0 1 0
2 2
2 2 2 2
0
0 0

° ™ Œ™
Same thing with a descending bassline
œj œ™ ™™
j
& ™
j j
3 Variation 1
œ™ œ
œ™ ™
œ œ œœ œ œ œ œ™
Ϫ Ϫ Ϫ
Ϫ
Ϫ
Ϫ

™ Œ™ ™ ™ ™
hammer 2
j
™ ™ ™ ™ ™ ™ ™
¢⁄ 0 ™ ™ ™
0
1 0 0 1 0
2 2
2 2 0 0

4
3 1 0
1

The first of these is the original. I put it here again for reference.
In Variation 1, even more miserably, perhaps. the bass descends via G, F natural, to Esus4.
As you can see, on beat three of bar 1, l.h.4 reaches over to finger the G on the sixth string as l.h.1 comes off the C
on the second string.
In the last half-beat of bar 1, l.h.1. nips across the fingerboard to grab the F/fret 1 on the sixth string as l.h.2 comes off
the E/fret 2 on the fourth string to get ready to band down on the C/fret 1 on the second string. L.h.4 gets out of the way, and
- importantly for some sustain -
l.h. 3 stays where it is on the A/fret 2 on the third all the way through.
Take it slowly and if you build your muscle memory carefully, it will last for the rest of your life.

Copyright © Adrian Legg

 Same thing with bassline variation

° ™ Œ™ j œj œ™ ™™
& ™
j j
5 Variation 2
œ™ œ
œ™ ™
œ œ œœ œ œ œ œ™
œ™ œ™ #œ ™
Ϫ
nœ ™
Ϫ

™ Œ™ ™
hammer 1

™ ™
j
™ ™ ™ ™ ™ ™ ™
¢⁄ 0 ™ ™ ™
0
1 0 0 1 0
2 2
2 2 0 0
3 2 1
4 2 1

The main difference between this and the original Aminor excercise with a static bass is that as we hammer-on l.h.1
at fret 1 second string to bring the second string B up to C is that l.h.2 moves across to the Fsharp/fret 2 on the sixth string
at the same time.
Remember that behind everything, we're still developing the idea of dividing attacks between r.h. and l.h. fingers!

Same thing with rising and falling bassline

° ™ Œ™ œ™ j œj œ ™ ™™
& ™ œ œ™
j j
7 Variation 3
œ
œ™ œ
Ϫ
œ œ œ
Ϫ Ϫ
œ
Ϫ Ϫ
Ϫ Ϫ

™ Œ™ ™ ™
j
™
™ ™ ™ ™ ™ ™ ™ ™ ™ ™
¢⁄ 0
0
1 0 0 1 0
2 2
2 0 2 0
2 3 2

I think that by now we've done so much work that this one might come fairly easily. The B to C/fret 1 second string hammer-on is done
by l.h.1 as it was in the original static version, it just occurs as we move onto a Cmajor chord, and by now we've done that simultaneous
hammer-on and thumbstroke quite a few times, so I hope your fingers and mind are settling into the routine by now. It's still an
important one to watch out for.