I have been practicing my slur (ligado) technique on classical guitar… using the Aaron Shearer book.
As I was doing exercises I thought, “some of these could make good sequences”. Then I started to try and apply them in a more jazz way. Not working so well.
I did a lot of problem solving and came up with some ideas. However I feel like the wisdom here far transcends my limited-ness.
The motivation for the book was to systematically address different slur fingering combinations. Each figure though is built with slurred notes within reach of each other. Pedal notes always add logic to a sequence. The bulk of these have a flow similar to enclosures. To me they make the most sense resolving to a chord indicated by an additional target note or notes. They also can form cool sequences by moving the patterns in various ascending or descending intervals. Harmonically speaking the starting and ending points define function. Now that you have assimilated these moves, not a bad thing to consider if they have any application outside of guitar gym class.
Temporarily undo the pick guard screws, move the assembly it a little sideways to allow the PU to capture the high E string vibrations fully ....
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Well I won't argue with you there.
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a...
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I agree with this. The best "out" stuff is where someone has put in the time, worked hard and followed their muse, and their muse has taken them to someplace that's considered out.
To me, I don't...
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