Sample Audio Clips
This section contains audio clips that correspond to the examples in the manual.
The Neck Diagrams
This section discusses the chord diagrams given for each of the tunings, and how to use them to develop usable chord positions. The example given shows two variations of an E7 chord in Taro Patch tuning. To hear the difference in the two versions of the E7 chord shown in figures 1 and 2, play the clip below. The first chord sound corresponds to figure 1 – it is played on the upper four stings (1-4). The second chord sound corresponds to the E7 version shown in figure 2. It uses the bass (6th) string, and the top three or four strings.
Choosing a Chord Position
This section describes how chord voicing can change the sound of a chord. The example shows two voicings of a G7 chord in Taro Patch tuning. The first G7 puts the seventh note of the chord on the first string, which emphasizes this note. The second version puts the seventh note on the fourth string, giving a more subtle version of the G7 chord.
Choosing Chord Positions for Solo Playing
In the section subtitled “Soloing and access to melody notes”, the example tab shows the first two bars of “Mary Had a Little Lamb”. Most of the melody notes (on the first string) can be found in two inversions of a G chord (in Taro Patch), one played at the seventh fret, and one at the third fret.
Parallel Sixths and Thirds
In this section, the first diagram shows four two note chords, often played in a sequence, either ascending or descending. The audio clip below demonstrates the descending sequence, where the strings are picked separately, in the order 3-1-3-1-3-1-3-1.
The next clip uses the same sequence, but this time ascending and playing the two notes simultaneously.
The next clip demonstrates the example on page 9.