Open
String Blindness
That's
lucky, it's still April... so, in between gorging on chocolate eggs,
I've been reflecting a little on a malaise that seems to afflict many
intermediate and advancing guitar players – open string blindness.
When we begin our journey with the guitar, the first things we learn
are all open string based – open chords, open position scale
patterns and melodies, open string blues riffs – but as we begin to
progress up the fretboard and master moveable chord and scale
patterns, it's almost like we lose the ability to use open strings in
our rhythm and lead playing. This is a great shame, as many of the
all time classic rock riffs are built around open string patterns.
Think of AC/DC's “Back In Black” or Stevie Ray Vaughan's “Scuttle
Buttin'” as perfect examples of open string lead or rhythm playing
that creates something truly thunderous.
So,
what's the problem?
Primarily,
it's a simple physical problem of hand synchronisation. As we begin
to uncover the secrets of sequencing basic scales such as the minor
pentatonic or blues scale, it becomes progressively easier to build
speed with the metronome, and one of the main reasons is that both
hands are doing something at the same time – both fret hand and
picking hand are synchronised and moving to the same metronome pulse.
When we start using legato techniques (hammer-ons and pull-offs), the
fret hand's relationship to the pulse becomes even more important and
so therefore does physically referencing the pulse with a movement.
When
we add open strings into the mix, however, that synchronisation goes
out of the window. Try a basic E minor pentatonic scale, in open
position, sequenced in groups of three or four. Most intermediate
players will find this much more challenging than a fretted box
position – not only the issue of hand synchronisation, but the
simple fact that the open strings lack the tension of their fretted
counterparts makes it very easy for the pick hand to get “lost”.
Add hammer-ons and pull-offs into the mix and things get even more
confusing!
This
is a shame, because open strings can impart a fantastic rootsy
“twang” to your playing, and also the higher string tension and
lower action down by the nut of the guitar make fast legato runs easy
and clear – a couple of great examples of this are Steve Vai's
“Jiboom” and Brad Paisley's “The Nervous Breakdown”.
The
solution? The same as always – focused practice. Program
these movements into your hands and have them learn to feel their way
around the open strings instinctively.
The
payoff can be very impressive – try mapping the E minor pentatonic
scale (E, G, A, B, D) along the top E string. Hammering on from, or
pulling off to the open E root from any of these notes straight away
gives a completely different slant on this familiar scale. Next, try
developing the idea – map out the notes along the B string and play
them against the ringing open E. This is a great way of creating a
fuller sound for solos, especially useful when playing in a trio.
Next
time: Some exercises to start seamlessly incorporating open strings
into your rhythm and lead playing. Chord voicings, scale/arpeggio
ideas and more!
In
the meantime, look at the licks and rhythm parts you currently play.
Any time you're playing a fretted note that is the equivalent of an
open string, try adjusting the part to incorporate the open note
instead of the fretted one. This simple idea can freshen up your
playing no end!
