Chad Johnson
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while the second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate which one works best for you. Download Example Audio 2...

This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above where you started. You’ll find slides invaluable when moving between different scale forms.Download Example Audio 3...

This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
Download Example Audio 4...

Here is an impressive "span the neck" lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1. Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
Download Example Audio 5...

This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above where you started. You’ll find slides invaluable when moving between different scale forms.Download Example Audio 3...
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
Download Example Audio 4...
Here is an impressive "span the neck" lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1. Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
Download Example Audio 5...
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