that much notation, the end result would
be cumbersome and counter-productive.
The general hints that I’ll give you are
these: I am not picking everything.
Whenever I switch from one string to the
next, I will always pick that transition—
with outside picking, if possible. (With
outside picking, your flatpick comes across
a string from its outer edge. For example,
if I was playing two notes on the 3rd and
2nd strings, I’d strike them with a down-up
move. This means after plucking the 3rd
string, I’d sail over the 2nd string and then
hit it with an upstroke. For an in-depth
explanation, see my “How to Practice Pole-Vaulting” column in the June 2011 issue.)
But otherwise, I am using hammer-
ons and pull-offs as often as I can. I have
covered this “juggling” of techniques in
previous columns, so I encourage you to
look back and practice some of my sim-
pler exercises to build this technique into
a habit.
Fig. 1 Fig. 1
4
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oeoeoe oeoeoeoeoeoeoe oeoeoeoeoeoe
oeoeoe oeoeoeoeoeoeoe oeoeoeoeoeoe
˙
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oe
oeoe oeoeoeoeoeoeoe oeoeoeoeoeoe
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###oe oeoe oeoe oeoeoeoeoe oeoeoeoeoeoe
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###oenoe#oenoe#oeoeoe#oeoe# oen oe#oeoeoeoeoe
oeoeoe n oe oeoeoe oeoeoeoeoeoeoe oe oe oe n oe oe ˙
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