Watch the Rifi Hendrix: 7 online guitar lesson by Chris Buono from Guitar Cubed
While the cat is out of the bag in regards to Guitar 2 doubling Guitar 1, it’s now time to examine the method behind the momentum. Right from the get-go in bar 1 the single note riff played in Guitar 1 is jacked up an octave in Guitar 2 and played on the 2nd string accompanied by a perfect 4th below. All together the arrangement between the two guitars creates a raucous Dm7 tonality. The muted open D played on the upbeats of 1 and 3 are played as such to stand tall alongside the 5th string, 5th fret muted D in Guitar 1. Once again the opposing strings and neck location provide a timbral difference that effectively separates the parts in a positive way.
You may be wondering why the initial perfect 4th, C-F, is fingered with the 3rd and 4th fingers. The answer lies not within what happens in that bar, but rather what happens in the 2nd bar. The line that’s played in bar 2 is harmonized a 6th above (inverted b3rd) Guitar 1’s line and ends on a 3rd fret, 5th string C that requires the fret hand 1st finger. To best make the change back to the inverted power chord (4ths are perfect 5ths in reverse) on the 5th and 6th frets the diad is played with the fret hand 3rd and 4th fingers from low to high.
Making it over to the IV chord change starting in bar 9 the same arranging approach is employed. What’s played in Guitar 2 is an octave above the motif played in Guitar 1 with added harmony. In addition to the perfect 4th below there’s also an octave below coming together to make a three-note G5 rooted on the 5th string in the 10th position. To stay congruent with the melody the 4th finger lifts up on beat 3 creating a Gm7 (no b3rd) chord spelled G-D-F. Keeping with octaves the responsive motif played in bars 10 and 12 is an octave above what’s played in Guitar 1 and uses the same exact fingering. While that’s simple enough in bar 11 be sure to mosey on up that 4th finger that plays the 10th fret F on the 3rd string up a whole step into the G5 ensuring the smoothest possible transition.
Overall notice the tone is another example of a low gain sleeping giant and the volume levels between the two parts were carefully mixed together to get the most from each one.