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Bending two notes at a time is an art form many guitarists don't try to conquer. But in this lesson you'll see how there is really no mystery to it.
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When first hearing the term “tenth” in music, it may seem baffling, but it’s simply a way to tell you that we have now jumped an octave over the initial eight notes of the scale. It’s really an interval in 3rd that now contains a note that is substituted by a higher or lower note, octave-wise. This is how a 2nd can become a 9th, for example. In this case, a 3rd becomes a 10th. This is just some basic theory dealing with the mathematical relationships of notes.
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Stevie Ray Vaughan in many ways followed in Jimi Hendrix’s footsteps, and loved to emulate many elements of Jimi’s style of playing. For one, he loved to tune down like Hendrix did. Also, by playing with a rhythm section (Double Trouble) similar to Jimi’s, Vaughan was able to create similarly “large” sounding rhythm parts that could really fill up the sound.
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This bending technique is often misunderstood due to the fact that some folks think an “overbend” is just that … a bend that goes too far! Well, actually, it’s almost always a step and a half, or three frets in length, and has been used for years by such legendary blues benders such as Eric Clapton, Otis Rush and Buddy Guy.
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This is a style and sound I first encountered while following the great Clarence White of The Byrds in the mid-to late ‘Sixties. Clarence, along with Gene Parsons, had invented the B-string bender. I did not realize that this was how he was getting his bending licks, so I simply started doing it with my fingers, emulating the more “mechanical” sound of the bender, and of pedal steel guitar, which is an instrument I was also starting to play at the time.
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