COMBINED BENDS AND RELEASES
FOR THE PAST TWO MONTHS, WE’VE been treating single-string bends and releases as isolated, independent actions. Sure, these microscopic breakdowns may seem redundant, but they were specifically designed to sequentially increase awareness of the many rhythmic subtleties inherent to string bending, a detail too often ignored. Now dig this: Incorporating both actions into a single motif or phrase allows you to increase the firepower and melodic potential—and reveals a distinct connection between rhythm and melody— all of which can be used to generate endless variations of any lick.
The grace-note bend and grace-note release depicted in Ex. 1a once again sets the stage for Examples 1b through 1d, where each bend and release is delayed in sixteenth-note increments. Ex. 1e adapts the same bend and release move to an eighth-note triplet, while Ex. 1f grafts it to four straight eighths and shifts the target E a half-beat ahead. These and all of the following examples were designed with Am(7) in mind, but they’ll also work well with any other chord diatonic to the key of C—Dm(7), Em(7), F(maj7), G(7), Am(7), or Bdim(m7b5). (Tip: For extra mileage, try ’em all with pre-bends and savor the subtleties.)
For a more strenuous workout, Examples 2a through 2c mimic the same rhythmic bends and releases using a whopping two-step bend—think Albert King, SRV, or Rick Derringer—that also works in all of the previously mentioned harmonic climates. (Tip: Use caution on the first string.)
Ex. 3a reveals what can happen when you incorporate rhythmic, eighth-note-triplet bends and releases into a descending A minor/C major scale sequence. Ex. 3b features a similar sequential movement where each scale tone is picked, bent and held, re-picked, and released over the course of four eighth-notes. Both examples work modally over any of the previously listed chords.
Finally, Ex. 5a drops us into fifth position, where we again maintain a consistent motif on beat one, while subsequently delaying each bend and release on beat two by a sixteenth-note over the course of Examples 5b through 5d. All previous rules apply, and any of these motifs and moves can be applied to any beat and, of course, to any notes on any string.
(Next: The Rhythm/Vibrato Connection)
Duff McKagan Set To Release Autobiographical Documentary "It's So Easy And Other Lies"
The Winery Dogs Launch U.S. Headlining Tour Dates
Dr. No Effects Introduces the MotherBrain Analog Delay
Avid Announces New Sibelius 8.3 Music Notation Software
Radial's Jensen Twin-Servo 500 is Now Shipping
Sascha Dikiciyan to Compose Tracks for Deus Ex: Mankind Divided
RealtimeOnly Releases Reverbical VST/AU/AAX Stereo Reverb Plugin
The MIDI Association Offers Free MIDI Spec
Bob Moog - On Synthesizers: Modulation, Part I
At Auction, Stevie Ray Vaughan’s Broadcaster Is a No-Sale Mystery
How Good a Guitarist Is Johnny Depp? Joe Perry Asked Him for Lessons
Thoughts on Caring for the Elderly (Guitar)
New Issue Preview: Revolver June/July 2016
Video: It Lies Within Tour Documentary, Part 1
Gojira Premiere New Song and Music Video, “Silvera”
History of the Blues in 50 Guitar Riffs
Expand Your Melodic Colors with 9th Arpeggios
John Entwistle's Isolated Bass Track from The Who's "Won't Get Fooled Again" at Shepperton Studios
Copyright ©2016 by NewBay Media, LLC. All Rights Reserved. 28 East 28th Street, 12th floor, New York, NY 10016 T (212) 378-0400 F (212) 378-0470