RH FIngering notes-all combinations are worth practicing!

In real life situations, the goal is to not think about it becaue there's a
certain random element in terms of the string location of any particular note that in the heat of the moment you have to be flexible
enough to go to any string. So any frim plan for fingering inhibits flexibility. Often it's better to go for TONE rather than efficency so
repeating fingers is often done.
We have to walk a line between ability/willingness and practicality/efficency. So eliminate p and i then do scale work,
melody work, or chord plucking work with m, a, pt(little). For pt, grow the nail long enough so that when the LH is in playing position
the nail makes the finger as long as the others. The pt can really be the melody finger as it is 3in closer to the bridge which helps the
melody speak. also, when playing 4 note densities, when there is a melodic movement that brings in a new string for moments using the
little finger is valuable. LETTER A - Ted would split his RH so p,i,m,a from bottom. Tim plays it p,i,a. PT - leaving m unused. Can also be
played by mutung the G string and playing all 5 strings. SO - to develop the PT, use scales, melodies and play with m, a, pt or just
a and pt on the RH. Also try using the same amout of notes as fingers, as in any kind of two notes per string using a and pt on rh.
LETTER B - play bottom note with p and top with pt and make sure they are balanced. 7 1/4 radius is better for back bending fingers.
LETTER C - touch string at 12th fret with right index finger and pluck with thumb. index can quickly release or even stay on string.
You are playing at exactly half the string length. Letter d - Bar at 5th fret, do the same here except move the RH up to the 17th fret
LETTER E - hold this shape. now pluck the D string with 3rd finger without making a harmonic then alternate going across. Next hold
down Bflat 6/9 and pluck with RH following the shape of that chord, so the RH moves around. PLuck the un harmonic (lower) note first.
SO - harmonic chords make a scale out of a chord, or more scale like lines, because you're using a chord that may have up to a 9 or
higher in it. The trick is no octaves are allowed! Because an octave becomes a unison and that ruins the scale effect. If you have 5 notes
up to the 9, you get 1,2,3,5, 7 (or 6). You're getting a lot of maj and min pentatonic sounds. So the beauty of it is you can make scale
like sounds while holding down a chord so it's very helpful in solo gtr.

The different applications are - The Ripple (the above technique) Played pluck, harmonic, etc. at two string distances.
Then you are taking what would normally look like a 6th, 2nd, or octave and make it into a 2nd or 3rd of some kind becaue you've
inverted it. SO - 4,6,3,5,2,4,1 then extra stuff on top to make it come outrhythmically. The ripple can go in both directions. Going up
starts with harmonic, going down starts with pluck to get the scale effect. LETTER F - filling in a pentatonic to make it maj or min by
adding a pulloff. This is the "water" effect a la Lenny Breau or Tommy Emmanuel. This does have limits due to doubling. Sometimes we're
not aware of the double because it's an octave not a unison. Letteg G - the first structure gives us two 5ths, the second is much
more interesting!

LETTER H - Pairs or twins. Usually the Same two strings as above (but doesn't have to be), struck simultaneously rather than rippled.
Make sure harmonic is loud enough and plucked note is quiet enough. Also try trios or three note groupings.

LETTER I - Chime chords. Make a harmonic of the bottom note and pluck everything else the regular way. This creates an inversion that
would be otherwise impossible to play. Note that thr RH uses m, a, pt for plucking as p and i are doing the harmonic. Octaves are OK in
these as they get buried and create a beautiful sound.

note that for some that are right over the neck PU may not come out if that is the only PU on. Need to use Bridge PU for these. This is
because when you split the string in half there's one tiny place (node) where there's no vibration. As the PU needs to hear one or the
other side of the node, these will not sound.

This technique may have started with classical players who would pluck with a different finger and play single notes. Steel players
would do a similar thing by hitting a single note and slide up. Tal Farlow (in the 40s) would hold the pick in p and m and play single
lines using i for the harmonic. CHet used the pairs approach, Lenny got it from Chet and created the ripples. So it was floating around
as a technique but holding a chord and doing a ripple was not done till Lenny. Tim got the chime chord from Lenny. and maybe from Ted.
Ted did a pentatonic chordal harmony with 4ths as in letter J.

Harmonic Bongos. 41.00. Tap strings and snap off 12 frets above on Am7 to D9. From this idea, you can "swat" almost any
chord. If the chord is slanted (maj7 on 1/4) just slant the RH finger. Also, use a pick and strum across any chord with the knuckle of
the thumb to create the harmonic. THis was done by Tal FArlow as well. Also can be done by holding pick normally and stick out
index finger of RH.

Also tapping any chord on a rhythm as part of the groove a la 43.50. Tuck andress device.
 RH Fingering/Harmonics

E
A B C D hold down
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