mm_hybridmasterclass1_booklet.pdf
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MASTERCLASS BOOKLET
Martin Miller
HYBRID PICKING MASTERCLASS VOL 1
Single Note Fundamentals INTRODUCTION Hello fellow guitar player, thanks for checking out my hybrid picking masterclass. This package is part of a series of lessons dealing with different aspects of the guitar technique we refer to as hybrid picking. Despite its popularity, there is very little serious information on this topic out there. Most teachers or instructional materials still completely ignore this way of playing. Time to shed some light and have a closer look at the technical and tonal possibilities in a conceptual fashion. Keep in mind, that the approach I’m presenting comes from a personal perspective. It represents how I approach and utilise this technique and is not entitled to be a universal truth. Since hybrid picking is still a fairly young technique in the entire spectrum of guitar playing, there is no standardised way of doing it yet.
IN THIS PACKAGE In the first part of my masterclass we will discuss the fundamentals of the technique with regard to single-note or lead guitar playing. However, the principles discussed also apply to rhythm or polyphonic playing. After discussing some technical aspects we will be covering WWW.JAMTRACKCENTRAL.COM
HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
some preliminary exercises, to get the technique under your belt. Note that in this first volume, we’ll be concentrating on using the pick in conjunction with the middle finger exclusively.
What is Hybrid Picking? The term “hybrid picking” refers to a right hand picking technique (assuming you’re right handed) combining the notes played with the pick and notes plucked with any of the remaining right hand fingers. Picked notes and finger-plucked notes can either be played separately or simultaneously.
Why use Hybrid Picking? The world of hybrid picking opens up a whole new dimension of expression for guitar players. If you’ve only ever played with a pick, you can incorporate hybrid picking into lines that you already know, to play them more easily. Since you can prepare a string change by placing your right hand fingers on the strings you’re about to play, this will avoid large jumps with your pick and therefore reduce hand movement. Also, as I’ll show you later, hybrid picking extends your tonal options. Depending on a few factors you can either make the pick and finger notes sound similar or get tones that are unobtainable by only using a pick. Another huge advantage over pick-only playing is the vast polyphonic possibilities. Hybrid Picking bridges the gap between techniques commonly used in plectrum guitar and those more typical of fingerstyle guitar. By simultaneously being able to pick/pluck up to four notes at the same time without having to strum you can now delve into the world of folk picking, bossa nova rhythms, chord melodies, jazz comping or even classical fugues. If you’re primarily a fingerstyle player, you can use the skills you already have and largely expand your single-note vocabulary by combining it with the advantages of playing with a pick: rapid alternate picking, palm muting, rock rhythm guitar, funk strumming, economy/sweep picking, pinch harmonics, etc.
Who Uses Hybrid Picking? This technique has been used by both electric and acoustic players for several decades now, but has recently become extremely popular. Some players particularly known for their use of hybrid picking are: Albert Lee, Danny Gatton, Johnny Hiland, Tim Miller, Tom Quayle, Brett Garsed, Wayne Krantz, Tommy Emmanuel, Eric Johnson, Guthrie Govan, Greg Howe, Zakk Wylde, Jimmy Page, etc. As you can see, there is a huge stylistic diversity within that list of players. Hybrid picking is not particular to a specific type of music, it’s what you do with it! This is also the reason that the patterns provided in this instructional can be modified and applied to any type of music.
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
FUNDAMENTALS Hand Position There’s a few factors you have to think about regarding hand position if you intend to use both the pick and your picking hand fingers at the same time. Some people like to anchor their picking hand on the body of the guitar to keep their picking hand in place. This is not ideal for hybrid picking as you have to make a rather radical shift in your fingers in order to pluck a note. I prefer to keep my picking hand fingers as relaxed as possible, resulting in a light anchor that is a good compromise between stability and accessibility of any finger whenever you may need it. Try this: move your hand away from the guitar. Relax all the tension in your picking hand fingers, while holding the pick between your thumb and first finger. If you’re properly relaxed your fingers will be slightly angled but neither overly extended or bent. Now move your hands towards the guitar and use that position as a reference to find your ideal way of playing. The final result will depend on your anatomy and the type of a player you are. BENT
EXTENDED
RELAXED
Floating or Fixed? Most electric guitar players rest the palm and part of their forearm on the lower strings and guitar body. This provides great hand stability, prevents unnecessary string noise and lets you employ palm muting easily. However, this doesn’t necessarily lend itself to polyphonic playing, where multiple strings have to ring into each other. Think classical guitar! In this case you have to slightly tilt your picking hand upwards or let it float fully, depending on the part you’re playing. Also keep in mind that when playing on acoustic guitar, a heavily fixed picking hand is going to dampen the resonance of the guitar body and therefore have a negative effect on the tone.
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
Make sure you spend time developing your technique using both methods if maximum flexibility is your goal. If you normally play with a fixed palm/arm, it may feel awkward at first when you switch to a floating position; you’ll have to spend some time developing a feel for that. FIXED FLOATING
Nails One important decision you’re gonna have to make is whether to grow your picking hand nails. The advantages of nails are better tone and dynamic range (see the next section for further details) and ease with hitting the strings perfectly. Even if you strike a note with just the flesh of your finger tip, having at least some nail grown will harden your finger tip. Personally, if I don’t have the nails there it feels like the string is just slipping over my finger tips with zero control. The downside is: nails require a lot of maintenance and if they are poorly filed or have grown thin they’re going to sound and feel terrible. How long should they be? If you look straight at the palm of your picking hand, you should be able to see the very tip of your nails behind your fingertips. If they’re too short, you won’t be able to hit the strings properly. If they’re too long the tone will suffer and you’ll get stuck in the strings. Experiment! Ideally, your nails should be curved, without any edges to catch on the string. The exact curve will vary from finger to finger but can be easily found using the following trick: take a nail file, put your fingers against it as if you were to pluck it like a string and start filing a little (as seen in the picture). That gives each nail the correct angle to attack the strings. Now continue filing till all sharp edges are completely removed. Again, keep experimenting a bit and find your personal “sweet spot”.
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
TONE A lot of factors come into play when it comes to fingerpicking tone production. Apart from the obvious ones (how hard you hit the string, where along the string you pluck) I want to address three aspects specifically.
Nail vs. Flesh As I’ve briefly mentioned before, it is possible to fingerpick with a tone that is really close to the sound of the pick. In order to achieve this you have to use the nails on your picking fingers. The sound of your flesh is notably softer and quieter, especially before you develop calluses. Unless that is the sound you’re going for, this particularly becomes a problem when balancing out the dynamics of multiple notes played at the same time. Also if you grow your nails, you can still decide not to use them for certain notes, widening your range of expression.
Attack For the richest, fullest tone possible, you need to hit the strings with a combination of nail and flesh. Before playing a note, make sure you contact the string with the inner side of your nail (the side closer to your thumb) and the flesh underneath. The biggest tone is being created when the string is vibrating perpendicular towards the guitar and not parallelly along to it. In order to achieve that, make sure you don’t pluck from under the string; you need to hit the side of it. The majority of the plucking movement then should come from the MCP joint of your finger, causing the string to slide along the nail and eventually releasing it. When done correctly you’ll be rewarded with a resonsant, loud, clear tone, blending beautifully with the sound of the pick. If you prefer to achieve a brighter, spankier, more percussive tone, get your finger under the string, lift it and then suddenly release it. This will cause the string to slap against the frets, an effect that is often used in country or rock guitar.
Soft vs. Hard Another aspect of the sound you can manipulate is the hardness. When going for a warm, soft sound loosen your DIP joint as you pluck the string. Imagine this as somewhat similar to a brush touching a piece of paper. On the contrary, if you want your sound to be harder and more aggressive, harden your DIP joint. The difference will be similar to utilising a soft vs. a hard pick. Watch: ‘tone.mp4’. In this video example I first utilise my nail to strike the side of the string, while loosening my DIP joint. After that I harden the DIP. Lastly I go under the string string and use mainly the flesh to pluck the strings, while the DIP joint remains hard. You’ll notice this progressively getting more aggressive. Experiment with mixing up all the aforementioned factors when you practice.
Dynamics Don’t forget that dynamic control is crucial when it comes to having good tone. For example, the ability to balance the volume differences between picked, legato and fingerpicked notes can result in an almost WWW.JAMTRACKCENTRAL.COM
HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
synthesizer-like effect. Alternatively, you could do the opposite, heavily emphasising either the picked or plucked notes in order to create more contrast and interest. It’s all about control. Watch: ‘dynamics.mp4’. In this example I play alternating picked and plucked notes. First I’m increasing and decreasing the volume of the lower note, while maintaining the volume of the upper one (at least as good as I can). After that I do the opposite, maintaining the volume of the LOWER note, while increasing and decreasing the volume on the top note. Imagine having two faders on a mixing board and being able to adjust both parts individually at will.
WHEN AND HOW TO USE HYBRID PICKING As mentioned before, there are multiple reasons why you would want to use hybrid picking instead of just the pick:
1. 2. 3.
tonal reasons you want to play a passage with greater ease the passage is unplayable without fingers
Personally, I use hybrid picking to make my guitar playing life easier, not harder. Not every passage works with hybrid picking. If it feels completely unnatural with a certain phrase, I will use a different technique instead of forcing myself to hybrid pick. Be aware that hybrid picking can only be used when going from a lower string played with the pick to a higher fingerpicked string (for example, picking the D string then fingerpicking the G string). This is simply a result of the shape of our hands. This may seem extremely obvious, but it helps to be aware of this when creating patterns. When descending you have to use alternate picking, sweep picking or so-called “hammer-ons from nowhere”. Where appropriate, I’ve notated my personal favourite picking directions in the Tab examples. Also I use the smallest possible number of fingers, to keep things (relatively) simple. If I can, I’ll play a lick easily using just the middle finger (the strongest). I will only employ other fingers if they make it easier to play a line. If you watch your fingers when you fingerpick, you will see that your fingers move from the ground towards the sky, or from the thinner strings towards the thicker strings, like an upstroke with the pick. This is also the reason why I usually avoid using a finger stroke immediately after an upstroke with the pick. This would be sort of similar to doing repeated upstrokes with the pick, which feels more clumsy than doing consecutive down- and upstrokes. Of course there will be rare exceptions.
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS
FUNDAMENTALS 1
Like me, I’m sure you’ll find As this: recorded 1
T A B
7
5
T A B
7
5
7
5
5
FUNDAMENTALS 2 m
m
by jamtrackcentral.com
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
Asthis: recorded … much more natural than 1
MARTIN MILLER
7
m
m
by jamtrackcentral.com
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
7
5
7
5
7
5
m
m
5
7
m
m
The reason is that the fingerpicked note brings the pick into the ideal position for a downstroke, just like in alternate picking. So in many cases you may like to view a fingerpicked note in hybrid picking as a substitute for an upstroke. If you still want to learn how to do upstrokes and fingerpicked notes in quick succession, feel free to reverse the picking motion on the preliminary exercises. A few more things I try to avoid (these are just guidelines and not set rules): 1. Repeated finger strokes on the same string. I’ll usually play legato for one or more notes before doing another finger stroke, depending on the tempo. In many cases I’ll use the pick after the string was initially picked with a finger. nb please refer to the relevent example videos in your download for the rest of the transcriptions
EXAMPLE 1
As recorded by jamtrackcentral.com
Ex.1:
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
8
3
3
3
5
6
8
3
6
5
5
6
8
6
H
P
P
5
8 m H
4x
8 m H
H
P
P
JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
EXAMPLE 2
Ex. 2:
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
8
3
3
3
5
6
8
4x
3
6
5
5
6
8
6
5
8
8
m
m
2. Moving across strings using the same finger. Instead I’ll try to have at least one pick stroke or another finger in there.
EXAMPLE 3
Ex. 3:
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
6
7
4
5
7
4
m
m
Ex. 4:
6
5
4
etc...
5
6
7
7
4
3x
5
6
4
EXAMPLE 4
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
4
7 m
6 a
5
7
c
6
5
4 etc...
4
6
7
5
4
6
7
5
4
5
6
7
4
7
6
5
4
3. Jumping more than three strings between a downstroke with the pick and a fingerpicked note. In those situations (low E to B string, low E to high E, A to high E) I’ll use my 3rd finger instead. The large gap puts too much tension onto the tendons and it becomes difficult to fingerpick a string at an ideal angle.
EXAMPLE 5
As recorded by jamtrackcentral.com
Ex. 5:
1
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
T A B
7
7 5
5 m
c
7 5 etc...
7
7
7
7
7
7
7
Ltd 5 5 5 JamTrackCentral 5 5 2016 5 5 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
7
7 5
5
5
Of course feel free to alter the preliminary exercises to your needs if this isn’t an issue for you. WWW.JAMTRACKCENTRAL.COM
HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
PRELIMINARY EXERCISES Before we get into actual real-world examples of patterns and licks, it might be a good idea to do some basic exercising, especially when you’re new to the technique. I encourage you do try these exercises on all sets of strings and all over the neck. Once you’re comfortable with the picking pattern suggested, feel free to manipulate that as well and draw your own conclusions on what works best!
EXAMPLE 6
As recorded by jamtrackcentral.com
Ex. 6:
1
T A B
2
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
7
5
7
5
7
5
7
5
7
5
5
7
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5
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5
7
5
7
5
7
5
7
5
5
7
5
m m etc...
T A B
5
7
5
7
7
5
This very simple example is designed for you get used to hybrid picking in the first place. It is also a very good playground for you to try out my suggestions in regards to nails, tone, dynamics, etc.
EXAMPLE 7
As recorded by jamtrackcentral.com
Ex. 7:
1
T A B
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
7 m
5
7 m
5
7
5
7
5
7
5
7
5
7
5
7
5
3x
7
etc...
Here we have the same example as before but reversed. Even though the mechanics of alternating between the middle finger and downstrokes are identical, this exercise feels very different. This is because the middle finger now lands on a downbeat and the picked downstroke on an upbeat. So now your middle finger is leading the phrase rhythmically, not the pick. This situation will occur a lot in real-life playing. Since this may feel a little awkward at first, I strongly recommend practising it seperately. Also try: - playing examples 6 & 7 on multiple sets of strings and positions. Every string and position has a different feel and string resistance, requiring subtle adjustments in hand position etc, so prepare your technique for any situation!
WWW.JAMTRACKCENTRAL.COM JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
HYBRID PICKING MASTERCLASS VOL.1
Single Note
EXAMPLE 8
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
T A B
7
5
7
5
7
5
5
7
5
7
2 T A B
5
MARTIN MILLER
As recorded by jamtrackcentral.com
Ex. 8: 1
FUNDAMENTALS
7
m
7
5
5
8
m
5
5
7
5
8
5
8
etc...
8
7
5
5
7
7
5
5
7 5
Here we have the same picking principle but now moving fluently across all sets of strings. Also try:
EXAMPLE 9
- reversing this exercise (like the change from exercise 6 to 7) and playing in different positions.
As recorded by jamtrackcentral.com
Ex. 9: 1
8
8 5
8 5
8 5
etc...
8 5
8 5
5
8 5
8 5
8
5
8
5 m
8
5 m
8
5
T A B
T A B 2
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
8
5
8 5
8
5
8 5
5
Now we’re increasing the spread between the middle finger and the fingers holding the pick, making the movements feel different. Also try: - reversing, different sets of strings and positions. JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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EXAMPLE 9
HYBRID PICKING MASTERCLASS VOL.1
Single Note
As recorded by jamtrackcentral.com
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
Ex. 10: 1
T A B
2
7
T A B
5
8 5
m
7
8
m
8
5
8
7
5
8
5
5
5
MARTIN MILLER
8 5
8
5
etc...
8
5
7
5
FUNDAMENTALS
7
5
7
5
7
5
7
5
5
5
Also try: - reversing and different positions
As recorded by jamtrackcentral.com
Ex. 11:
1
T A B
EXAMPLE 11
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
7
5
7
m
5 etc...
5 m
7
7
5
7
5
7
5
7
5
7
5
5
Also try: - reversing, different sets of strings and position
EXAMPLE 12
Ex. 12:
1 T A B
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
6 5
7 m
9
6 5
m
9
9 7
7
9 7
9 7
9 7
5
etc...
JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
Also try: - reversing and different positions
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
EXAMPLE 13
Ex. 13:
FUNDAMENTALS MARTIN MILLER
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
3
5
7 m
m
7
6
5 etc...
5
5 7
7 5
5
7
5 7
7
7
6
5
6
7 5
7
7
7
4
5
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4
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4
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4
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4
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6 4
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4
4
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
T A B
5
5
5
m
5
5
5
5
5
5
5
5
5
5
5
5
5
m
etc...
T A B
4
6
7
6
7
5 7
EXAMPLE 14
Ex. 14:
2
T A B
1
6
7 5
T A B
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
Now this is the first exercise where we play repeated notes between the pick and middle finger on the same string. You may, like me, find it very hard to get pleasing results at first. Try to get two different types of articulation when working on these type of exercises: 1. Use your nail and don’t plant your middle finger; perform the pluck quickly so the notes ring out as long and clearly as possible without any gap JamTrackCentral 2016 2. Use your finger tip andGenerated plantusing your middle finger Ltdunder the string before plucking it, so you the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org get a muted, staccato feel. You’ll hear a lot of that in country guitar playing for example.
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
T A B
2
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
m
etc...
m
T A B
MARTIN MILLER
EXAMPLE 15
Ex. 15:
1
FUNDAMENTALS
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
The same notes as before, but this example focuses on adding accents (the > symbols) to both picked and plucked notes. Also try: - shifting the accents around at will.
EXAMPLE 16
As recorded by jamtrackcentral.com
Ex. 16:
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1) 1
T A B
5
5 m
5
5 m
7
7
7
7
7
7
7
7
2 T A B
4
T A B
8
8
8
8
5
5
5
5
etc...
8
8
8
8
5
5
5
5
5
5
5
5
7
7
7
7
7
7
7
7
5
Similar picking pattern, moving across all strings... JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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HYBRID PICKING MASTERCLASS VOL.1
EXAMPLE 17
Single Note
FUNDAMENTALS MARTIN MILLER
As recorded by jamtrackcentral.com (From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
Ex. 17:
1
T A B
2
5
5
5
7 m
5 etc...
5
5
5
5
5
7
5
5
7
5
5
5
7
5
5
5
5
5
5
5
5
5
5
7
7
T A B
7
7 5
5
5
5
This time we combine multiple pickstrokes with hybrid picking in a groups of 4
EXAMPLE 18
Ex. 18: As recorded by jamtrackcentral.com Pentatonic bounce variation #7 MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1) (From the 2016 Album 1
T A B
2
7
5
5
5
5
5
5
5
5
7
5
5
etc...
7
5
7
T A B
7
7
m
5
7 5
5
7
5
5
5
5
5
5
7
5
This exercise uses the same principle, but the notes are reversed, causing a change in the picking pattern, due to my preference of having a fingerpicked note preceded and followed by a downstroke.
EXAMPLE 19
As recorded by jamtrackcentral.com
Ex. 19:
1
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
T A B
2 T A B
3
7
5
5
7
3
5
5
5
5
5
5
7
7
m
3
3
3
5
5
7
etc...
7
3
3
5
5
7 5
3
JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
5
5
5
7
7
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HYBRID PICKING MASTERCLASS VOL.1
Single Note
FUNDAMENTALS MARTIN MILLER
A triplet pattern can be played with a double downstroke followed by the middle finger.
EXAMPLE 20
As recorded by jamtrackcentral.com
Ex. 20:
(From the 2016 Album MARTIN MILLER HYBRID PICKING MASTERCLASS: VOL 1)
1
T A B
2 T A B
3
7
5
5
7
3
5
5
5
5
5
5
7
7
m
3
3
3
5
5
7
etc...
7
3
5
5
3
5
5
7
3
5
5
7
7
Here’s an alternative triplet picking pattern. This is one of the few exceptions where I’ll have a fingerpicked note followed by an upstroke (this order still feels better than having the upstroke before the fingerpicked note). As this example shows, none of the rules are set in stone; it’s up to you to find out what works best for you! Also try: - applying all sorts of fingerings to ex. 17-20.
CONCLUSION So this concludes the first instalment of my Hybrid Picking Masterclass. If you’ve gone through the written material and exercises carefully, you should be ready to move on to the next volume. In Volume 2 we’ll really get our technique in shape, as well as our vocabulary and fretboard knowledge. I’ve got plenty more advanced patterns and exercises for you, and we’ll extend and manipulate them, making them part of your improvisational toolset. I look forward to seeing you in Volume 2! All the best, Martin Miller.
JamTrackCentral Ltd 2016 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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