[gpilcher2001]

Hi all I am wanting to add a new technique to my playing and was wondering if anyone could tell me what chord shapes to look for to accomplish this thing jerry did on many of his songs. What I'm refering to is the fast stumming on the melody lines in songs like Suagree, morning dew, deal and many other songs of his. Thanks in advance greg...

[TI4-1009]

Ahhhh.... the Jerry-shreding!

http://www.gratefulguitarlessons.com/su ... _video.htm

[NorthboundRain]

it's pretty simple. play triad shapes on the top three strings, just higher up on the neck and in different voicings.

play the top 3 notes of an open E chord, G# (1st fret) on the G string w/ B and E open, with the root of the chord on the open E string

do the same for the A chord playing A (2nd fret) on the G string, C# (2nd fret) on the B string, E on the open E string, here the root is on the G string at the 2nd fret.

and again w/ the open D shape playing A (2nd fret) on the G string, D (3rd fret) on the B string, and F# (2nd fret) on the E string. Now the root is on the B string

now you just start moving the your shapes around based on the root of the chord. For example in Sugaree you are playing over a B to E progression. Playing two inversions over each chord you might start with an Open E Chord shaped triad, but rooted at the 7th fret (the top three notes of a B barre chord) for beats 1-2, then shift up the neck to the D shape rooted on the 12 fret for beats 3-4. You're playing the same chord, just a different inversion (order of the root, 3rd, and 5th). When you modulate to the E chord you could play the Open E shape an octave up rooted at the 12th fret of the E string on beats 1-2 and then switch to the Open A chord shape rooted on the 9th fret of the G string (you could also think of it as the top three notes of the E barre chord) for beats 3-4.

Play around with this idea, moving up and down through different inversions and outlining the changes to different songs. It's a great way to build intensity during a solo. Don't forget to learn your minor chord shapes too.

Be sure to play around with the same idea using arpeggiated picking instead of the tremolo for a nice dreamy effect, especially when you add some delay.

[gpilcher2001]

it's pretty simple. play triad shapes on the top three strings, just higher up on the neck and in different voicings.

play the top 3 notes of an open E chord, G# (1st fret) on the G string w/ B and E open, with the root of the chord on the open E string

do the same for the A chord playing A (2nd fret) on the G string, C# (2nd fret) on the B string, E on the open E string, here the root is on the G string at the 2nd fret.

and again w/ the open D shape playing A (2nd fret) on the G string, D (3rd fret) on the B string, and F# (2nd fret) on the E string. Now the root is on the B string

now you just start moving the your shapes around based on the root of the chord. For example in Sugaree you are playing over a B to E progression. Playing two inversions over each chord you might start with an Open E Chord shaped triad, but rooted at the 7th fret (the top three notes of a B barre chord) for beats 1-2, then shift up the neck to the D shape rooted on the 12 fret for beats 3-4. You're playing the same chord, just a different inversion (order of the root, 3rd, and 5th). When you modulate to the E chord you
could play the Open E shape an octave up rooted at the 12th fret of the E string on beats 1-2 and then switch to the Open A chord shape rooted on the 9th fret of the G string (you could also think of it as the top three notes of the E barre chord) for beats 3-4.

Play around with this idea, moving up and down through different inversions and outlining the changes to different songs. It's a great way to build intensity during a solo. Don't forget to learn your minor chord shapes too.

Be sure to play around with the same idea using arpeggiated picking instead of the tremolo for a nice dreamy effect, especially when you add some delay.

Cool thanks man I will give it a whirl next chance I get. Greg..