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Grab the 10th fret A on the second string and bend it up a whole step to B.#coronagoals. Both licks are then repeated before a jump up to 8th position to This is because the 5th fret is the note sounded by the bend, but your finger is still on the 5th fret. This is followed by a pre-bend lick, but notice in the tab that the parentheses in You’ll strike the first string again before hitting theīent second string once more, releasing back to the 5th fret, and then bending back up without striking the string. As you hold the bend, add the pinky to the 5th fret of the first string, but allow the bent string to keep sounding. Start off with the ring finger on the 5th fret of the second string and bend up a whole We need to start with a note on the tab the sustained bend against the second ringing note is tricky to notate. Won’t really hear the descent on the quick releases, but on the slower one you can hear the descending pitch. The third bend will be struck, and this release will be in time. Through two bends, but this time the releases are quick and have no time value of their own. Once again, we’re going to sustain the sound The second half of the lick starts with a middle finger slide to the 14th fret of the G string, setting up index and ring for the next bend. When you can execute this smoothly, the descendingįigure of bend-release-lift-replace will sound as one fluid sequence of notes. Then lift middle and ring to reach the 12th fret with your index finger the ring finger then returns to the 14th fret. This next bend is a “pre-bend.” Bend the string without striking it, then hit the bent string and release This is tricky already, but wait, it gets better. Once again, we’re not going to let the string back down after this first bend, just release the string and jump to
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Up the next lick, so you’ll be using two fingers primarily for this bend. Your index finger will stay on the 12th fret to set Extend the ring finger up to the 15th fret of the second string and back it up with the middle finger. Now take a look at example 2, inspired by an answering lick from the same solo: The last note is played by releasing the bent string completely –ĭon’t let it back down, just let go – and jumping to the index finger on fret 8. Slowly and remember to let the wrist and arm do most of the work as you keep the pressure on the string even throughout. This is tricky, because we want the sound to continue through all four bends.
#HOTEL CALIFORNIA SOLO SERIES#
The second lick begins just like the first, followed by a sustained series of bends and releases. Instead of holding the bent note out, bend and release in one fluid motion and then lift the ring and middle fingers to sound the 8th fret note with Finish the lick by bending and releasing the You find the “sweet spot” on your fingertip, you’ll be able to maintain enough contact with the second string to keep it from ringing out. Many people find that they end up sounding the next lower string as the bend comes down, but when Is an essential part of string bending and can be trickier to control than the bend up. Then release the bend, keeping all three fingers on the string, and strike it again as you land.
#HOTEL CALIFORNIA SOLO FULL#
Hold the bent string for a full count of four to last through the whole measure. Check out this simple example, reminiscent of the lick that begins the solo in The intertwining of distinct melodies that create harmony as they come together. But while the guitars in the Thin Lizzy song harmonize exactly, the Eagles usedĬounterpoint. “ The Boys Are Back In Town” is one of my favorites). This idea of harmonized lead parts didn’t start with “Hotel California,” classic rock is full of great examples (the harmony breaks in Thin Lizzy’s You need to pay attention to even hear the handoffs the last note of each player’s solo harmonizes perfectly with the first note of the other’s. When the guitars take the lead at the end of the song, notice how well the two players’ The vocals while sitting comfortably on top of the rhythm laid down by the bass and 12-string. “Hotel California” is full of harmonized lead guitar parts that add counterpoint to In the texture, and the parts were worked out to ensure that everything complemented the whole. Add a third and things get really complicated! The Eagles’ approach was to arrange carefully. It can be to get two guitar parts to work together well. If you’ve ever played in a band, you know how challenging Leadon left in 1975 and was replaced by Joe Walsh. Glenn FreyĪnd Bernie Leadon in the original lineup, augmented by Don Felder in 1974.