Steve Vais Words I

Little Black Dots / Mini Lessons 84

Hammering With The Right Hand

(written in 1984)

Hi, folks. In these "top secret" guitar lessons, I plan to discuss different techniques for soloing and rhythm
playing. I always strongly recommend the use of a drum machine or metronome in your practicing.

The examples and ideas that follow will need to be musically meditated on.

The technique I'm about to describe involves hammering with the right hand. The object is to get an even 16th-
note (or 8th-note) soloing "feel" happening using both hands on the neck.

Begin with a metronome, or drum machine, pulsating at the rate of quarter note = 60. You can make this time
slower if it's too fast at first. Start out in a familiar key and tap a note with a finger on your right hand.
Whichever finger feels most comfortable to you is the one to use. I use the middle finger. Tap the note to sound
it, then pull off the note to a note in the same key, fretted with the first finger on your left hand. Then hammer
to another note with your third (or second) finger and another with your pinky finger...all with your left hand.
From here, you can go to another string and fret a note with the finger on your right hand, then repeat the
action. Each note should be an 8th note in length. Try to get a steady, clean flow happening. Remember, if it's
not clean, it's worth poo poo.

Let's say, for example, I'm in the key of A Major. On the B string, I fret a B with my right hand (12th fret) and
pull off to an E (same string, 5th fret, 1st finger). Now, I hammer to an F# (third finger), then hammer to a G
(pinky finger). With the right finger, I hammer an A on the 14th fret of the G string and pull off to a C#. I then
hammer to a D (second finger), then to an E.

After an hour or so of this type of activity, bring the metronome speed up a notch or two. With constant
diligence, you'll be flailing in no time.

This is one way to get your two-handed technique together. If you use this idea in your soloing, be careful that
it doesn't start to sound like an exercise.

After this starts working for you, try some of your own innovative mutations on the idea; e.g., play only two
notes with your left hand, set your drum machine for a 6/8 feel and phrase in triplets. Fret two notes with your
right hand, etc.

There are countless other ways of using your right hand on the neck, so keep tuned for future lessons.
Fun With Your Whammy Bar
(written in 1984)

Most of you out there with vibrato bars have probably been through all the basic maneuvers (you know, the
"dive bombs" when you hit the low E string and bottom it out). Then there's the basic wide vibrato on any given
note; and, of course, the one where you hit a harmonic and the bar down or go "whee whee whee". Here I will
discuss a few tricks you may not have been through yet.

First, I will talk briefly about vibrato bar systems. There are many different ones out on the market. If you're
serious about your bar work, you're looking for one that won't put you out of tune or go sharp when you rest
your wrist on it. And you don't want it to alter the string tension if you break a string or stretch a note. But you
do want it to go sharp (up to a 4th) when you pull on it. Good luck! There are modifications you can make to
the standard systems to help solve some of these problems. I use Floyd Rose tremolo systems. I have mine set
up so that I can pull up on the bar and the strings will go sharp as much as a 4th.

In this area of vibrato bar exploration, we will look at using the bar to play melodies. This is like learning how to
play a fretless guitar. It takes great intonation and a lot of patience.

Pick a key and hit a note. With the bar, bend the note down to the next note in the key. Then, bend it down
again to the next lower note. Go in between these three notes to create a melody. Here's an example: In the
key of F# minor, play an F# on the 11th fret of the G string. With the bar, bend that note down to an E; then
depress it down to a D or a C#. Release it backto F#, then pull the bar so the note sounds G#. Be sure your
intonation is happening. Now use these notes to construct melodies.

In this fashion, practice playing a melody you already know. Record a melody using four or five notes. Learn it
back using the bar.

Another bar trick involves bringing it around 180 degrees from where you would normally use it and tapping on
it. This causes the note to go sharp. If you chop at the bar in this position, every time you hit a note it will
sound like little grace notes from India.

Bend the bar down and slide up the neck on the G string. As you slide your finger up the neck, raise the bar
slowly. Boy, what fun!

Now, do the opposite. As you slide up the string, bend the bar down so your finger is sliding, but the pitch is
the same. It can sound like a purring cat. Growwlll!
Double Stops and 3-Part Chords
(written in 1984)

A double stop consists of playing two notes at the same time. In this lesson, I will explain some double and
triple stop techniques.

Next time you're soloing and you run into a brick wall, try employing double stops. Descending thirds is a good
one. For example, if you're in the key of E Mixolydian (major scale flat 7: E, F#, G#, A, B, C#, D), start with
C# on the D string and E on the G string. Now you're going to move in parallel diatonic thirds. This means
you're playing the intervals of either a third or a minor third, whichever it takes in order to stay diatonic to (in
the key of) E Mixolydian.

Moving down the neck, your next choice of notes would be B and D. Then A and C#, etc.

If you sit for three or four hours and play nothing but 3rds all over the place, eventually you will come up with
some great things. Try muting them with the palm of your right hand, jumping octaves, and alternate picking
them.

After you get 3rds pretty happening, try 4ths, 5ths, 6ths, 7ths, octaves, 9ths, 10ths, 11ths, 12ths, etc. If you
spend some time on each of these, it will definitely show in your playing.

Another similar technique is the use of triple stops. This is effective when playing chords or comping. Take a
diatonic triad on the top three strings and move around in a diatonic parallel motion. For example, if you were
in the key of E and were playing a B minor triad (voiced F#, B, D, 10th position) moving downward, your next
triad would be an A (voiced E, A, C#). The next chord could be an E triad (voiced E, G#, B). Then go to a D
triad (voiced D, F#, A). You can use this technique with chords voiced in 4ths, also.

One thing to be careful about when playing through these chords is how you resolve them. Experiment!

You don't have to know the names of these chords, although it's nice to learn what they're called.

Try it with restricting yourself to three notes per chord; then try four notes per chord. Try using only certain
strings, etc. String a whole bunch of these chords together, move the positionings and basically just
experiment. You'll never get bored.

The voicing of a chord refers to the order of the notes in relation to the scale. For example, a G chord in open
position is voiced 1, 3, 5, 1, 3, 1. This means the first note of the chord is the first note of the G major scale,
the second note of the chord is the third scale degree, the third note of the chord is the fifth scale degree, and
so on.

Another way to come up with chords you've never played is to write down a series of numbers and use them as
a voicing to a chord. Take the numbers 1, 3, 6 and 5. That spells out a major 6th chord. Use a string of
numbers like a telephone number (777-1369). If you were to play all these notes in this order, it wouldn't
sound very good. As a matter of fact, there aren't even seven strings on the guitar, hey. [Note: these lessons
were written in 1984]. So, take the last four numbers. That spells out a nice chord. From there, you can alter it
to find that lost chord you so earnestly seek.

Some people bet on lotteries in this fashion. We build chords.

Vibrato
(written in 1984)

For those who are beginners on the guitar, take into consideration the importance of using vibrato effectively.
Practice it and dont limit yourself to one type of vibrato.

One thing to be careful about when you start using vibrato is your intonation. Its easy to put a note sharp
when you vibrate it. This could be effective at certain times, but if it becomes overused, it will sound horrible.

There are three different types of finger vibrato that come to mind. They are:

1: ROCK VIBRATO

Vibrate a note by rocking it up and down from the floor to the sky, causing the pitch to go sharp only. This
technique is the most popular among rock guitar players; e.g., Page, Hendrix and Clapton. Personally I find it
limiting (but intend no disrespect).

2: CLASSICAL VIBRATO

You can see most string players using this style. In this technique, you push the string forward, then pull it
back. While pushing forward, the string will go flat because youre causing it to get looser from the tail piece to
the fret youre on. By the same principle, pulling the string will cause it to go sharp. This is an effective vibrato
because it modulates between going sharp and flat and makes it easier to control the intonation of the note.
The drawback is that its hard to get too radical with it. One thing you can do is vibrate over the frets really
fast. An example would be to play an E on the G string and slide up and down the neck in the span of a fret
each way. Warren DiMartini of Ratt is well known for this technique.

3: CIRCULAR VIBRATO

This is my favorite, for it lends itself to the most mellifluous expression. In this technique, your finger moves in
a circular motion on the string. Start by pushing the string forward, then pulling it down a bit. In the process,
release the tension from pushing. Then pull the string back and follow by pushing it towards the sky. What
youre doing is combining both types 1 and 2, creating a circular motion with the original fretted position being
the center.

The reason Im so fond of this vibrato is that it helps keep your intonation in perspective. The note will go both
sharp and flat in the vibratory process. The width and the speed are easy to control.

When practicing these vibratos, start slowly and smoothly. Stay slow but get really wide. Then try fast but
skinny vibrato, then fast and wide. Think about being as sensitive as you can. Then try it as harsh and fast as
you can without having your finger fall off the guitar (actually, let it fall off if you like).

Now, take all these vibrato techniques and apply them to two-part, three-part, four-part, five-part, and six-part
chords. Good luck!

Vibrato is one of the most creative expressions the guitar is capable of. Certain songs will call for a certain type
of expression. Let your vibrato do the talking.
Weird Noises
(written in 1984)

In this lesson, I will give examples of weird and sometimes funny noises you can get out of your guitar.

Striving to be a flashy rock guitar player will demand a certain amount of unexpected "squeaks" and pops from
your instrument. This can be effective, but if overused, can be OH NO! When playing outside of flash-oriented
activities, weird noises can still be useful in a constructive manner.

Some of these sounds will require a certain type of amp and guitar set-up, basically a loud guitar with a
whammy bar.

1. With a vibrato bar, bend the low E string down to the point where the strings are flapping. Try to play the
low E string.

2. Same as above, but this time let the E string get magnetically stuck to the pickup. With the movement of the
bar, raise the string and lower it so it gets stuck, then free, then stuck, then free. Sort of "the burp syndrome".

3. Bring the bar very low. Hit a harmonic on the G string, 5th fret (or any that will sound). Move the bar really
fast in the lowered position. Then release it to normal. Whee Wheeeee!

4. Turn the bar 180 degrees from where you would normally use it. With your fist, bang the base of the guitar
as hard as you can. All this time, you are to fret a note. This causes the bar to "traumatize" and vibrate at a
very fast rate. It's probably not too good for your guitar, but it sure sounds cool.

5. With the nail of the second finger on your left hand, pull the B string off the neck towards the floor. Now oull
it around the neck. You should get a pretty funny "squeak". This is caused by the string fretting out on the frets
and the pickups. This effect also works well with the G string. It's not hard to ruin your nail, though.

6. With the second finger on your right hand, fret a note on the G string. Now raise the note up the neck
(towards the tail piece) until you'd go off of the fretboard. Keep pushing on the string very hard until it
"squeaks out" on the pickups. Oh what fun. Sounds like little animals are flying out of your guitar.

7. Strum the strings behind the nut. If you have a clamping system or locking nut that is closed, this effect
won't work.

8. If you have springs on your guitar's vibrato system, strum them with your pick.

9. Scream into your pickups.

10. Take out your guitar cable and touch it to your tongue. ZAP!

11. Beat your strings with the guitar cable. WAP!

12. Stretch the highest note on your guitar until the string breaks.

13. Slide your pick down the string for that standard "big rock tone" pick screech.

14. If you perform the previous example enough times, your pick will be pretty rough on the edges. This will
lend itself to a host of other "concoction extravaganzas" such as:

a) Rub the rough end of your pick strings as you fret a note. This will give a "glassy" effect.

b) Try fretting a C on the G string. With the worn and rough edge of the pick, rub really fast on the D fret.
Bend G up to an A, or higher, by pushing the string behind the nut.

15. If you don't have a locking tremolo system, bend notes from behind the nut. Bend G up to A, or higher, by
pushing the string behind the nut.

There are a million more "demonstrations of frequencies" possible. With each one of these examples, you can
elaborate endlessly. Knock yourselves out, knuckleheads!
Building Chords By Ear
(written in 1984)

In the midst of all the great noises, effects and runs that accompany linear-type playing, it's possible for
guitarists to neglect their chordal studies. This lesson is dedicated to the construction of chords for your chordal
vocabulary. I suggest that all new chord forms you come across be written down in chord tablature and
memorized.

Heres an example of chord tablature:

Here are some experiments to fatten up your chord dictionary. Start by playing a chord, any chord that you're
familiar with. Then take any finger and move it either up or down a fret. If it sounds good, write it down and
memorize it. Heck, you can even write a song with it. If it doesn't sound good, try moving another finger. You
can see the countless millions of chords you can construct this way. Here are some examples of a few:

Start with a D barre chord in the 5th position. The notes are D, A, D, and F#. Now, at random, move a note
here and there.

Lower the F# to an E, making an E2 chord. As you change, find comfortable fingerings. Now raise the A to a B.
Thats a D(6/9) chord. Add an A on top and drop the D on the G string to a C#. That's a Dmaj7(6/9). Now add
a B (on the one E string) in the bass. That makes it a Bm11. Pull the B off the bottom and play the E string
open. That's an E13 (no 3rd). Raise the whole thing up two frets, etc., to infinity.

Another idea from which to extrapolate is to play a chord fingering that is both movable and diatonic in
different positions. For example (again in the key of E Mixolydian), go to the 12th position and play E on the D
string with your third finger, B on the B string with your first finger and F# on the E string with your pinky
finger -- one of my favorite Hendrix chords:

In the key of E Mixolydian, you can use this fingering in the open, 2nd, 5th, 7th, 10th and 12th positions.

Another of my favorite movable voicings is C#, F#, B, F# on the 11th position. In the key of E, this voicing
works on the 2nd, 4th, 6th, 9th and 11th positions:

Theres many more!

Bending Notes
(written in 1984)

One day I sat down and wedged a shoe on the low A of a Moog Taurus pedal. I turned on a drum machine and
told myself that for the next three hours I would solo over this pedal tone and concentrate exclusively on
bending notes. Some of the interesting things I came up with are revealed here.

The most widely used form of bending notes is to place three fingers down on consecutive frets and bend the
note one whole step up from the pitch you started on. You should have a good grip on this technique before
you read on.

One thing you should always be conscious of when bending a note is your intonation. Make sure that the note
youre going for is the one you hit. Here are some things to try:

1) Hit a note and bend one fret from the note youre starting on (for example, hit a G and bend to a G#)

2) Hit a note and bend three frets higher than the note youre starting from (hit a G and bend to A#)

3) Hit a note and bend four frets higher than the note youre starting from (hit a G and bend to B)

4) Try bending five, even six, frets if possible.

5) This is an ascending bending technique. You hit a note, bend it two frets, bring it down to its original
position and slide your finger up the neck to the next scale tone. After that note sounds, stretch two (or three)
frets to the next scale tone, release to the original note, slide and repeat this until you cant get any higher on
the neck.

The following is an example of blues in the key of A:

Hit G (8th fret) with your third finger. Bend the note to A; return it to G; slide up to A with your third finger;
then stretch the A to a C. Return the note to A; slide to the C; then bend to a D. Return the note to C, slide to
the D and bend to E. Keep this process going until youre stretching from an A to a B on the 22nd fret. This
whole action takes place with only one pick attack. Its all slides and bends.

6) Start with a note that is already bent, attack it and return to the flat position. For example, on the B string,
bend to a B from an A (10th position). Strike the note and return it to A. Do this seven times in a row on
different notes as fast and as cleanly as possible and youll have a nice effect.

7) Bend a note, hold it with your other available fingers, play other notes on other strings. For example, on the
G string, stretch from an F# to a G# (9th position). While holding that note and letting it ring out, play with
your fourth finger, E on the E string (12th fret). Then play with your first finger C# on the E string (9th fret).
Then with your fourth finger, play B on the B string (12th fret). All this time, youre still holding the G# that is
bent from the F# with your third finger. It may sound complicated, but take it slowly.

If you sit and concentrate on nothing but bending, you will come up with your own fun variations.
Fast Strumming
(written in 1984)

In this day and age, approaching a song rhythmically in the rock idiom usually requires knowledge of two basic
techniques. Theres the muted eighth-note type of playing where you mute the strings with the palm of your
right hand. Usually only the first two or three notes are strummed. Then theres the full-fledged k-r-r-r-anges
where you strum a chord all the way through, another example of big rock tone.

In any case, no matter what youre doing rhythmically, its important to play in synch. That means in time. The
exception, of course, is if your desired result is to sound drunk (or, if you are drunk). When practicing rhythm,
a drum machine or metronome should always be used. In the cases where youre trying something maybe a
little beyond your physical capabilities, start at a speed at which you can play cleanly. It must be clean!
Gradually bring the speed up.

Here is a speed-rhythm playing technique. This example requires a loose wrist. Shake your right hand as fast
as possible (careful not to hurt yourself!). Now, when you apply this to strings, it probably wont sound too
good at first. Notice the position your wrist and hand form in order to move at the fastest possible speed. The
object is to get the strings to sound clean when you apply the pick at this speed. Once this becomes clean with
the up-down strumming motion, try adding accents to it and alternating your strumming pattern. In 6/8 time,
try strumming this pattern using any chord:

(D = down strum, U = up strum):

The rhythm should be even. Start slowly and build gradually. Heres one in 4:

The faster you get, the harder it is to get a full strum from the quick downstrokes. Try to get even 16th notes
happening at a rate of quarter note = 108, or faster.

This technique is also good for odd rhythm playing such as 5/8.

To come up with some more examples to try, just randomly write down a bunch of Ds and Us with all of the
Us followed by Ds and not having to play more than two Ds in a row. For example, D U D D U D U D U D D U.
Then try to play them evenly.

Some other strumming ideas are:

1) At the bridge of the guitar, strum from high strings to low strings with the pick. This will exaggerate the high
overtones of the notes, giving a bell-like quality.

2) Strum with the pick perpendicular to the strings. This will cause many nice overtones when you strum in the
right spot. Experiment.

3) Try strumming with foreign objects for different tones, such as a smooth stone, a coin, a pencil, a letter, a
razor blade (careful!), etc. Dont hurt yourself, now!
Skipping Strings While Playing
(written in 1984)

Next time youre playing and you feel as if youre in a rut, try jumping and skipping strings for different effects.
For example:

1) Solo and restrict yourself to playing on any two strings that are one string away from each other (high E and
G, for example.)

2) Try skipping two strings and restrict yourself to only two strings (the A string and the B string, for example.)

3) Try skipping three strings. Confine yourself to only the low E and B strings, etc.

Try doing one of these examples for ten full minutes without leaving the parameters of the rules. Then try it
for longer periods. You will find yourself coming up with melodies and licks you may never have thought of
otherwise. This is also a good exercise in concentration.

Octave displacement is one approach. It consists of changing the octaves of some of the notes in a familiar lick,
then relearning it. Heres one example:

You can do this with your scales, too:

There are many variations with which you can experiment. Write a few thousand of your own.

Another type of octave displacement consists of playing a lick of, say, three notes next to each other. Then do
the same lick, but drop it or raise it an octave. Try dropping or raising it another octave.

Octave displacement can also be used on chord forms. For example, play the notes D on the G string (19th
fret), G on the B string (20th fret) and A on the E string (17th fret). This outlines a G2 triad. Now take this
whole voicing down an octave to D on the D string (12th fret), G on the G string (12th fret) and A on the B
string (10th fret). You can even take it down another octave.

Do this with several of your favorite triads. String them together in different order. Record them with a drum
machine and solo over them using the octave displacement and string jumping exercises outlined above.

But most importantly, have fun!

Pull-Off Playing (incl. Hammer-Ons)
(written in 1984)

When you see or hear the word "legato", it usually means to play a given passage smoothly or flowingly. When
you pick a note, you hear a certain articulation. The best way to approach a legato passage is with the use of
hammer-ons and pull-offs. Start with a couple of fluttering exercises (trills) like these:

1). Flutter for one full minute, nonstop between your first and second fingers. Keep it strong, clean and even.
Then do it between your first and third, then the first and fourth, fingers.

2). Do the same thing except this time, flutter between your second and third fingers, then your second and
fourth, then try between the third and fourth.

The object is to get each pair of fingers equally strong when trilling. You can see that it will take some time for
this to happen cleanly, but when it does, the dexterity and coordination of your left hand will double.

This is a great exercise for legato playing. Try it with three fingers. Start with A on the high E string (5th fret).
Now, hammer to a B with your third finger; then hammer to a C with your fourth finger. Pull off with your
fourth finger, sounding the B. Pull off with your third finger, sounding the A (do not re-attack the string with the
pick). Repeat the process. Keep this going until you can't stand it. Do it with a metronome and be sure you're
in synch. After this, try every combination of fingers you can think of.

This next technique involves changing from one string to another and having the notes sound clean without
picking them.

To do this, hammer the note on the preceding string with your finger. This will cause the note to sound. Try
plucking an A on the E string as before; hammer to the B; then hammer to the C. Pull off back to B; then pull
off to A. After this, hammer with your fourth finger, G on the B string (8th fret). Then pull off to an E on the B
string (5th fret). Now you're where you started, but one string over. Continue doing this to each string in turn.
The object is to get an even, steady flow from one string to the next. Practice this on every fret, forward and
backward.

When practicing this and all other exercises, be sure to do them high on the neck where the frets are tiny. This
is good for becoming a screamer. Below is an example of this exercise starting on the 5th fret and going across
the strings:

There are many possibilities that this technique will open up to you. Here are some things to try:

a). Try going across the strings in this manner with every combination of fingers you can.

b). Try it with a metronome and group the notes in even 16ths. Then try triplets.

c). Go across the strings, diatonic to any given key that you desire.

d). Do this exercise while moving up the neck.

Allan Holdsworth is a master of this playing style.

Two-Handed Chords
(written in 1984)

Because the guitar is tuned in 4ths and the average player has a span of 6 to 7 frets, it is harder to voice
certain types of chords on this instrument than it is on a piano or a harp, for instance. There are some
unconventional ways to play chords on the guitar and get certain tensions and chord tones that you might not
normally be able to get. One way is to detune the guitar so the notes you want are within your reach. Another
way is to use the right-hand fingers to fret notes. Soon this technique will be less unconventional. [Note: these
articles were originally written in 1984].

Start by playing an A barre chord in the 5th position: A on the low E string, E on the A string, A on the D string
and C# on the G string. Stop there. Hammer the first finger of your right hand onto the E on the B string (17th
fret).

Try to come up with at least 100 of these chords using your right hand in this manner.

Now try the same chord as above, but adding another right-hand finger. With your third finger (right hand),
hammer the B on the E string (19th fret) as well, so that you're now hammering two notes simultaneously with
your right hand.

From here, go back to the 100 chords you wrote out and use two fingers from your right hand to voice them.
When this is complete, try adding three fingers from your right hand for more combinations.

Another thing to try when building chords with two hands is to play a triad (4-part chord) in the higher register
of the guitar, while fretting a bass note down with your right hand.

A cluster is a chord that is voiced with its chord-tones close together. These chord forms hit you right between
the eyes when you hear them. When using conventional tuning, it's possible to play clusters on the guitar only
through the use of right-hand fretting. Here are some to hurt yourself with: