Can anyone help?

Rayza1983

I love this lead guitar style by Andreas Lund, now I know it's in G# minor pentatonic for the most with natural minor notes added but I really like it when he is playing two or three notes at the same time for his lead, like sliding into chords and playing a melody on 1 string then throwing a quick chord in. How would I go about learning this? What I'm talking about is at 1.46 in the video and then again at 2.48

It's a really nice sound

Catthan

I think these are called double stops.

Technique-wise they are not difficult. he is just spelling out parts of the chords in the scale. 

What it takes is knowledge of the fretboard; practice harmonising a major (for this example) scale in triads across the fretboard and then 3rds and 6ths. on different string sets. (Try the 4 higher ones for starters).

How you apply it in the context of your solo takes experience and is a whole other thing to practice.

Once you know what you're doing the key then is to demonstrate "taste" and rhythmical variety with this. It will take some time but you'll get there. 

Didn't notice if he's playing in G# minor 'cause he's tuned down to Eb. I would start practicing these in an easier key to get the shapes under my fingers and then start transposing. Say, Aminor/ Cmajor.  

Rayza1983

Catthan said:

I think these are called double stops.

Technique-wise they are not difficult. he is just spelling out parts of the chords in the scale. 

What it takes is knowledge of the fretboard; practice harmonising a major (for this example) scale in triads across the fretboard and then 3rds and 6ths. on different string sets. (Try the 4 higher ones for starters).

How you apply it in the context of your solo takes experience and is a whole other thing to practice.

Once you know what you're doing the key then is to demonstrate "taste" and rhythmical variety with this. It will take some time but you'll get there. 

Didn't notice if he's playing in G# minor 'cause he's tuned down to Eb. I would start practicing these in an easier key to get the shapes under my fingers and then start transposing. Say, Aminor/ Cmajor.  

Yer thought he was playing double stops, I was kinda hoping peeps had like some orders of notes i could try to get my head round it, like a run in double stops using natural minor

viz

Yep it's G# minor and they're quite simple double stops, a third apart (or in the second example a couple which are a 2nd apart). So with the third apart ones, you've got to harmonise that G# minor scale, which means recognising that as you go up the scale, sometimes you need a minor 3rd and sometimes a major 3rd. 

 So: 

 G# minor is 4th fret on the top E string. It's 9th fret on the B string. First double stop therefore is to play the root and minor third together. That's 9th on the B, and 7th on the E. As it's a minor 3rd, your fingers are 2 frets apart. 

 Next, you're playing the supertonic and the subdominant together (re and fa). So it's 11th on the B, 9th on the E. Another minor 3rd, so fingers are 2 frets apart. 

 The next is a major 3rd, the mediant and the dominant together (mi and sol). So your fingers are only going to be 1 fret apart. It's 12th on the B, and 11th on the E. Because the B string notes are going up from the root, and this 3rd note is a MINOR 3rd, because you're harmonising a Minor scale. And on the E string, you started on that minor 3rd, 7th fret, and you're playing 3rd, 4th, 5th (notes not frets), all of which are a whole tone apart. 

 Next it's another minor 3rd, so 14th on B, 12th on E. 

Next it's another minor 3rd so 16th on B, 14th on E. 

Next it's a major 3rd, 17th on B, 16th on E.

 Next another major 3rd, so 19th on B, 18th on E.

 Finally the last minor 3rd again, 21st on B, 19th on E.

 That's all assuming you want to play natural minor. To play them you can either use the same two fingers and alter the gap between them or try and us your 3rd finger on the B, and switch between 2nd and 1st on the E, depending on the interval. I hope I got them right, I don't have a guitar with me!

He's actually doing his on the B and G strings - same concept except as the strings are not a 4th apart, the stops are either 1 or zero frets apart, rather than 2 or 1 as above. 

Rayza1983

viz said:

Yep it's G# minor and they're quite simple double stops, a third apart (or in the second example a couple which are a 2nd apart). So with the third apart ones, you've got to harmonise that G# minor scale, which means recognising that as you go up the scale, sometimes you need a minor 3rd and sometimes a major 3rd. 

 So: 

 G# minor is 4th fret on the top E string. It's 9th fret on the B string. First double stop therefore is to play the root and minor third together. That's 9th on the B, and 7th on the E. As it's a minor 3rd, your fingers are 2 frets apart. 

 Next, you're playing the supertonic and the subdominant together (re and fa). So it's 11th on the B, 9th on the E. Another minor 3rd, so fingers are 2 frets apart. 

 The next is a major 3rd, the mediant and the dominant together (mi and sol). So your fingers are only going to be 1 fret apart. It's 12th on the B, and 11th on the E. Because the B string notes are going up from the root, and this 3rd note is a MINOR 3rd, because you're harmonising a Minor scale. And on the E string, you started on that minor 3rd, 7th fret, and you're playing 3rd, 4th, 5th (notes not frets), all of which are a whole tone apart. 

 Next it's another minor 3rd, so 14th on B, 12th on E. 

Next it's another minor 3rd so 16th on B, 14th on E. 

Next it's a major 3rd, 17th on B, 16th on E.

 Next another major 3rd, so 19th on B, 18th on E.

 Finally the last minor 3rd again, 21st on B, 19th on E.

 That's all assuming you want to play natural minor. To play them you can either use the same two fingers and alter the gap between them or try and us your 3rd finger on the B, and switch between 2nd and 1st on the E, depending on the interval. I hope I got them right, I don't have a guitar with me!

He's actually doing his on the B and G strings - same concept except as the strings are not a 4th apart, the stops are either 1 or zero frets apart, rather than 2 or 1 as above. 

Thanks for the reply Viz, I've kinda got my head around double stops but I really like how he applies them, some bits are Jimi Hendrix like which I know how to do, I just really like his technique it's very emotional. I slowed it down to 50% on youtube but I just wish they did a 10% with sound for parts lol. Some bits are too fast to work out, it's the little bits he does very quick changes, the slower parts I can play I'm good going across the neck on dyads but I just need to learn going up and down strings better, I was messing about last night and I got some nice sounds. It'll come much more practice

Sambostar

Practicing double stops from scale notes up the board, one string, two, three, four, five or six strings apart is a great and obvious, although often overlooked way to not only create ways of playing new chords and also make easy sense of the chords tonality from the basics up, as well as identify parts of barred whole C open style chords etc.  With just two notes you can make them major or minor.  As well as all that they de-mystify and develop your ear.

Starting out with two notes on two stings side by side, eg, the D and G strings, you can play a minor sequence or a major all the way up the board and kind of break out of your position playing and make complete fluid sense of four note chords so loved by Jimi and John Frusciante as well as creating new licks and stuff by learnings them relative on all the strings.

Also it's a great way to add thickness to an acoustic solo, or electric pop/rock style with muted strings between the notes, such as octave chords etc on the A and G strings for example, as well as subconsciously learning bass lines, finger picked chords and positions for your acoustic style, for example by playing a minor sequence of doublestops with the A and B strings only.

Warren Zevon 'Carmelita' solo, RHCP 'Snow' chorus, most of the Foo Fighters, Blink 182 and even Kelly Clarkson are just a few that come to mind.

EG Snow, RHCP is the best example, the B and E strings are Octaves and the A and D strings are a simple minor sequence, it's all there and sounds full whilst also being subtle and stripped down.  It's so obvious when you think about it, but inaccessible when you don't know the tones, that is what makes it so catchy and Frusciante so good IMO and most of his RHCP playing is done in a similar vein.  You'd play it by strumming it and muting the other strings (E,G.E) with your left hand (First finger G and E and thumb E) whilst playing the seventh fret note with your first finger, eighth fret A with your second and tenth fret B with your third or fourth.  Jimi did get there first though.

E........................................................................................................8----7---12---10--------------------12

B-10----12-----13----------17----15................/.....................8---8---10---10-----17----15-----10

G........................................................................................................9---7---10---10--------------------10

D-7-------9-----10-----------14----12................/....................10--9---12---12-----14----12----12

A-8------10-----12-----------15----14.............................................................................15----14

E-

Foo Fighters Everlong bridge:

E----------------------------------------------5

B----------------------------------------------5

G--4-4-4-6-6-6-7---9-9-9-11-12-11---2

D----------------------------------------------2

A--2-2-2-4-4-4-5---7-7-7--9--10--9----0

E

F Major:.....................................F Minor:

G-2-4-5-7--9-10-12-14..............1-3-5-6--8--10-12

D-3-5-7-9-10-12-14-15..............3-5-6-8-10-11-13

A Major......................................A Minor..............................Octaves

E

B-2--3--5--7--9--10-12--14........1--3--5--6--8--10-12-13.......3-5-7-8

G

D

A-0--2--4--5--7---9--11--12........0--2--3--5--7--8--10--12.......5-7-9-10

E

It all helps.