| T O P I C R E V I E W |
| HChaikuwarrior |
Posted - 04/27/2004 : 8:47:07 PM
can someone give me some advice on how to slap especially like he does in the live versions of loose interpretations when he is slapping on the fret board...i can do it near the soundhole but have trouble on the fret board...any tips would be grand...
also does anyone have excercises that will help with eye hand cordination..ie speed.
thanks a lot.
-andrew |
| 4 L A T E S T R E P L I E S (Newest First) |
| dan p. |
Posted - 04/29/2004 : 12:07:24 AM
it's easier to get a good sound near the bridge. of course, you can get harmonics my hitting certain frets with your fingers or thumb while holding certain frets with the left hand. it generally goes by 12s. tap 12 and leave the string open to get a harmonic, 1 and 13, 2 and 14 and so on. |
| Silky The Pimp |
Posted - 04/28/2004 : 11:02:37 PM
Hard to say without being able to play it. You'll probably have some better luck slapping closer to the bridge regardless. |
| HChaikuwarrior |
Posted - 04/28/2004 : 9:28:40 PM
wow man, thanks so much that was so thorough! As for my gauge i use mediums on a taylor so whatever the custom action is for that is what i have cause i haven't played with it...should that be could enough to slap on the board??
let me know and thanks again! |
| Silky The Pimp |
Posted - 04/27/2004 : 11:43:29 PM
HChaikuwarrior... first, what type/guage strings do you like to use? The heavier the guage of your low E, the easier it's going to be to get the sound you want. Also, if you keep your guitars with super low action (like me), that will also make it harder to get the sound slapping at the fretboard. So if you're playing light guage strings with low action, you're going to have trouble slapping because you're going to mash the string against the fretboard before you get a sound out of it instead of vice versa like TR. As for technique, it's done about how it looks... with the ball of your thumb.
Here is some finger fun for you.
The key to improvement with every one of these exercises
is to be consistent. Do not increase speed on any of them
until you can play them perfectly at any given speed. Once
you are flawless at one speed, take it up a notch and practice
until you are perfect at a faster speed, and so on.
Finger Exercise 1: Alternate picking
|------------------------------------------1-2-3-4-------|
|----------------------------------1-2-3-4---------------|
|--------------------------1-2-3-4-----------------------|
|------------------1-2-3-4-------------------------------|
|----------1-2-3-4---------------------------------------|
|--1-2-3-4-----------------------------------------------|
|--4-3-2-1-----------------------------------------------|
|----------4-3-2-1---------------------------------------|
|------------------4-3-2-1-------------------------------|
|--------------------------4-3-2-1-----------------------|
|----------------------------------4-3-2-1---------------|
|------------------------------------------4-3-2-1-------|
Then repeat starting at the 2nd fret, and so forth all
the way up the neck.
Exercise 2: Hammering
|--------------------------------0h2h3-------------------|
|--------------------------0h2h3-------------------------|
|--------------------0h2h3-------------------------------|
|--------------0h2h3-------------------------------------|
|--------0h2h3-------------------------------------------|
|--0h2h3-------------------------------------------------|
Try this using each pair of fingers that you can. Also try
moving the hammers farther apart. Rather than just hammering
from 0->2->3, try 0->2->4 or 0->2->5 or 0->2->6. Once you
are comfortable with starting from an open string, start on
the first fret, and repeat, going up the entire neck.
Again, feel free to widen the hammer.
Exercise 3: Hammering
|-----------------------------------------1h2h3h4--------|
|---------------------------------1h2h3h4----------------|
|-------------------------1h2h3h4------------------------|
|-----------------1h2h3h4--------------------------------|
|---------1h2h3h4----------------------------------------|
|-1h2h3h4------------------------------------------------|
Then, as with the alternate picking exercise, repeat
starting at the 2nd fret, and so forth all the way
up the neck.
Exercise 4: Pulling
|--3p2p0-------------------------------------------------|
|--------3p2p0-------------------------------------------|
|--------------3p2p0-------------------------------------|
|--------------------3p2p0-------------------------------|
|--------------------------3p2p0-------------------------|
|--------------------------------3p2p0-------------------|
Again, as with the first hammering exercise, use every pair
of fingers that you can, and also move the frets you are
pulling off of farther apart.
Exercise 5: Pulling
|--4p3p2p1-----------------------------------------------|
|----------4p3p2p1---------------------------------------|
|------------------4p3p2p1-------------------------------|
|--------------------------4p3p2p1-----------------------|
|----------------------------------4p3p2p1---------------|
|------------------------------------------4p3p2p1-------|
Once again, repeat starting one fret up, and so forth all
the way up the neck.
Exercise 6: Hand control
|-----------------------------------------------2-5-12-9-|
|--------------------------------------2-5-12-9----------|
|-----------------------------1-5-12-9-------------------|
|--------------------2-5-12-9----------------------------|
|-----------2-5-12-9-------------------------------------|
|--2-5-12-9----------------------------------------------|
The idea of this one is to have to quickly move your hand
from one position on the fretboard to another that is
"far" away. The frets don't matter, so much as the distance,
and you can add in another position change if you like that
would take you from high on the fretboard back down low.
This will help develop control for playing songs that require
you to make long slides, or have chords that are in far
positions from each other.
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