We now will see how to develop sixteenth note rests within a quatrain of sixteenths. To get regular picking, is best to always develop the sixteenth note rhythmic division with the right hand. This way the sense of rhythm remains unchanged, in order to only play the notes (or chords) of interest. With this system we will play some "ghost" pickings. These are nothing but open pickings that play on the rest: you don't have to touch the strings, just graze it. The left hand has to stop the vibration of the strings when there is the rest, releasing the pressure of the fingers on the strings, without detaching from the fretboard. You only need to loosen the pressure to dampen the vibration of the strings to interrupt the sound. The fingers return when the next sixteenth is played.
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Ex #7 - In the first example, the ghost picking is on the last sixteenth, exactly at the sixteenth note rest. |
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Ex #8 - The sixteenth note rest is now found on the third sixteenth, where you would pick using the down stroke, which must be done open. |
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Ex #9 - We now move the rest to the second sixteenth. The ghost picking is up. |
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Ex #10 - To finish, the sixteenth note rest is now on the first sixteenth. The start of the quatrain is performed with ghost picking using the down stroke. |
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We cannot forget the use of ligatures of value in rhythmic notation. The right hand basically uses the same technique as the sixteenth note rests, in that you have to play some open pickings (ghost), while the left hand maintains the pressure on the fingers during the ligature. In this way, the sound of the strings is not dampened, but allowed to vibrate for the amount of time that equals the sum of the first and second chords.
Ex #1 - We begin with a classical example of ligature between the chord in the last movement of the first bar with a value of one quarter, and the first chord of the second bar, which is also a quarter note. Both are the same type of chords (C major in the audio example), and you play the chord present in the last movement of the first bar, allowing the chord to play again for the value of time also of the following.
Ex #2 -
In this case we can connect the notes between a raised octave and those that follow in beat, which won't be played by the picking (which comes fron the strings without touching them).
Ex #3 -
Observe the ligature between the last sixteenth of the quatrain and the first sixteenth that follows, where there is no picking. Doing this, the time value for the final sixteenth of the quatrain is added to the value of the first that follows.
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