4
4 & oeoeoeoeoeoeoeoeoe R≈‰ OE
Color TVs
≥≤ ≥≤ ≥≤ ≥≤ ≥
757575757
Refrigerators
˙
Refrigerators
4
4 & oeoeoeoeoeoeoeoeoe R≈‰ OE
≤ ≥≤ ≥≤ ≥≤ ≥≤
7
10
7
10
7
10
7
10
7
˙
Color TVs and Refrigerators
Color TVs and Refrigerators
4
4 & oeoeoeoeoeoeoeoeoe R≈‰ OE
≥≤ ≥≤ ≥≤ ≥≤ ≥
757575757
˙
oeoeoeoeoeoeoeoeoe R≈‰ OE
≥≤ ≥≤ ≥≤ ≥≤ ≥
757575757
oeoeoeoeoeoeoeoeoe R≈‰ OE
≤ ≥≤ ≥≤ ≥≤ ≥≤
7
10
7
10
7
10
7
10
7
oeoeoeoeoeoeoeoeoe R≈‰ OE
≤ ≥≤ ≥≤ ≥≤ ≥≤
7
10
7
10
7
10
7
10
7
two notes on one string. We’ve been picking every note. But we don’t have to! The
taskmaster will still loudly demand that
you pick the first note. But after that,
the left hand can take over with pull-offs
and hammer-ons. No more picking is
required. You don’t have to move these
Color;TVs.
The Refrigerators still need to be
moved. But because you could take a break
from;the;Color;TVs,;you’ll;be;quicker
and more powerful when you get to the
Refrigerators. Here is a lick where this
concept really pays off. Let’s call this one
That’s the Way You Do It.
This lick is downright revolution-ary.;There;are;no;Color;TVs,;only
Refrigerators. And the result is that you
can play a phrase that uses three separate
strings with similar speed and ease as if
they were on a single string. This solves
possibly the biggest technical challenge of
playing scales and arpeggios on a guitar.
Now, before we invest three weeks in this
phrase, let’s ask an important moral ques-
tion: Isn’t it morally superior to pick every
note? Aren’t we being lazy for making the
left;hand;deal;with;the;Color;TVs;while;the
right hand takes a break? Doesn’t picking
sound better? Shouldn’t we practice picking
every note to build better technique?
