Bending Guitar Lesson
Bending
In this lesson, Matt shows you the ins & outs of bending.
Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 27:48Difficulty: 2.5 of 5
A. Set-Up Tips for Comfortable Bending
The way in which your guitar is set up will have a profound impact on string bending. A guitar's set-up most typically refers to the gauge of strings used, the tuning (standard tuning, down a half step, etc.), and the action height.
Most rock players prefer to play with lighter strings (usually 9 or 10 gauge) because they are easier to bend. The tone of smaller gauge strings is also more appropriate for this style. When it comes to blues and country however, most professionals prefer a heavier gauge set (usually 11's or higher). Heavier strings are more effective for producing a biting,twangy sound.
The disadvantage to playing with heavy gauge strings is that they are much more difficult to bend. I recommend starting with a lower gauge string and gradually working your way up to a larger set. Also, it should be taken into consideration that some people simply have smaller, weaker hands than others. If bending the strings causes any discomfort or unnecessary fatigue, it's definitely a good idea to switch to a smaller set. Many players in the 80's injured their hands as a result of bending large strings. Stevie Ray Vaughn popularized using very large strings (13 gauge) to create his signature tone. What people didn't realize was that Stevie had absolutely massive hands and tuned his guitar down a half step.
*Note: If you decide to change to a new string gauge, a new set-up must be performed. Some intonation, action, and minor truss rod adjustment may be necessary. Have this work done by a reliable professional.
B. Proper Technique for Bending
As a rule, it is always important to play with good classical technique. Solid left-hand technique is contingent upon several factors. First, the thumb must be perpendicular to the neck, resting approximately halfway up it. The rest of the left-hand fingers must be perpendicular to the fingerboard. They must be arched and bent at each individual finger joint.
Left-hand technique for bending is the only exception to this rule. In the context of the bend, it is highly beneficial to allow the thumb to come up over the neck. This enables you to have better leverage on the string. Using classical technique, you are relying solely on the strength of your fretting fingers to perform the bend. By bringing the thumb over the neck, you are combining its strength with your fretting fingers.
Chapter 2: (2:34) Pitch Control To ensure that your bends are in tune, first play the fretted note of the pitch you are bending up to. For example, if you want to bend the 7th fret of the G string up a whole step, first play the note E on the 9th fret. This will give your ears a reference as to what the bend should sound like. Be sure to practice bends of different intervals. Half step and whole step bends are the most common. However, bends of larger intervals such as a step and a half as well as 2 step bends are also common. Chapter 3: (2:18) Bending Direction The direction in which the string should be bent (towards the floor or towards your face) is dependent upon which string you are playing. Generally, the bass strings should be pulled downward, and the treble strings should be pushed upward. Otherwise, you run the risk of running out of room on the neck. There are some exceptions to this rule however. Due to the fingering of certain musical lines, there are some instances when it is easiest to pull the G string downwards. You might also find the need to push the D string upwards. Chapter 4: (3:52) Types of Bends There are a few different types fo bends to consider.
Pre-bend: The string is bent up to pitch, then the note is plucked.
Bend and Release: The string is plucked and bent simultaneously. Once the specified pitch is reached, the fretting hand returns the string to its normal position.
Gradual Bend: The string is plucked then gradually bent to pitch over a specified note duration.
Bend on the Beat: The string is plucked and bent simultaneously.
Chapter 5: (11:32) Bending Exercises Exercise 1
This exercise is directed toward practicing bends in conjunction with a fretted note on an adjacent string. Begin by fretting a note with your pinky on the B string. Then, bend the note on the G string that is one fret lower. The interval of this bend should be a whole step. The beginning of the "Enter Sandman" solo illustrates this bend very well.Exercise 2: Unison Bend
Unison bends can be performed between the G and B strings and between the B and E strings. Play a fretted note on the E string with your first finger. Then, bend the note three frets up on the B string. The pitch of the bent string should match the pitch of the fretted note. When applying this technique to the G and B strings, bend the G string note that is two frets higher. Try playing the major scale horizontally using unison bends between these string pairings.Exercise 3: Bend plus Vibrato
Vibrato can be added to any of the aforementioned types of bends. Performing a rapid series of bends and releases produces a vibrato. First, bend the string up to pitch. Then rapidly bring the pitch down a quarter of a step and return it up to pitch. The faster this process is performed, the clearer the vibrato will be. Be sure to practice bending plus vibrato with all four fingers!Chapter 6: (1:44) Final Exercise This exercise develops your ability to perform bends on the low strings. Simply pick any note on any of the three bass strings. Then practice bending it downward using different intervals. Start with the most common intervals such as the half step and whole step.
Supplemental Learning Material
Rock Guitar with Matt Brown
Found in our Beginner Lesson SetsChuck Berry among others pioneered the style of rock and roll in the 1950's. Today, rock and roll remains the most popular genre of music. Over the years the genre has progressed & spawned many sub-genres: soft rock, classic rock, punk rock, and more. Dive into this Phase 2 set of lessons to become a master of rock.
Lesson 1
Proper Practicing
Learn how to get the most out of your time when practicing.
Length: 29:00 Difficulty: 2.0 Members Only
Introduction to Lead
Matt Brown discusses some of the fundamentals to playing lead.
Length: 15:41 Difficulty: 1.5 Members Only
Figuring Out Notes
Matt shows you the basics of figuring out any note on the guitar.
Length: 7:00 Difficulty: 2.0 Members Only
Scales
Learn the basic minor, natural, and major scales. Quite a few techniques & ideas start with scales - they're an essential building block.
Length: 34:15 Difficulty: 3.0 Members Only
Major Scales
In this lesson, Matt takes you through the major scales & helps you to understand how they can be used.
Length: 20:25 Difficulty: 3.0 Members Only
Natural Minor Scales
Matt teaches the most common natural minor scale patterns.
Length: 13:24 Difficulty: 3.0 Members Only
Bending
Learn & master the most popular types of bends.
Length: 27:48 Difficulty: 2.5 Members Only
Sweep Picking & Rakes
Learn sweep picking and string rakes.
Length: 18:36 Difficulty: 3.0 Members Only
Solo Techniques
Learn various techniques to use when improvising / soloing.
Length: 12:51 Difficulty: 3.0 Members Only
Tuning Down
Matt explains the most effective way to tune your guitar down.
Length: 7:18 Difficulty: 2.0 Members Only
Barre Chords
Learn how to establish finger independence and a few tips and tricks with barre chords.
Length: 37:18 Difficulty: 2.5 Members Only
Rock Licks
In this lesson, Matt Brown introduces a rock lick and shows how several famous players have modified it.
Length: 19:30 Difficulty: 2.0 Members Only
Rock Sequences
In this lesson Matt teaches some crucial rock sequences. He also explains how these sequences can be integrated in to your playing.
Length: 34:52 Difficulty: 2.0 Members Only
String Skipping
Matt Brown focuses on string skipping technique. He provides several exercises designed to improve this aspect of your playing.
Length: 33:09 Difficulty: 2.0 Members Only
Intervals
Lesson 15 in Matt's rock series is all about intervals.
Length: 34:47 Difficulty: 2.0 Members Only
Rock Lead Guitar
Matt Brown demonstrates lead guitar techniques using Aerosmith's "Sweet Emotion" as an example.
Length: 29:24 Difficulty: 2.5 Members Only
Solo Using Diatonic Scales
Matt Brown explains which scales can be used when playing a solo over a diatonic progression in a major key. As an example, he teaches the solo section to Candlebox's song "Far Behind."
Length: 33:02 Difficulty: 2.5 Members Only
Diatonic Natural Minor
This lesson covers the natural minor scale and diatonic natural minor progressions. Matt uses the solo section to "Stairway to Heaven" as an example.
Length: 24:55 Difficulty: 2.5 Members Only
Right Hand Technique
In lesson 19 Matt provides instruction on developing right hand skills including string skipping.
Length: 26:38 Difficulty: 2.0 Members Only
Non-Diatonic Progressions
In lesson 20, Matt discusses chord progressions that don't follow a diatonic tonality.
Length: 29:07 Difficulty: 2.0 Members Only
Harmonic Minor
Matt begins to discuss and demonstrate the harmonic minor scale.
Length: 29:46 Difficulty: 2.0 Members Only
Improvising Over Harmonic Minor
In lesson 22, Matt continues his discussion of the harmonic minor tonality.
Length: 14:36 Difficulty: 2.5 Members Only
Sweet Child O' Mine
In lesson 23, Matt takes a look at the solo section for the song "Sweet Child O' Mine."
Length: 19:43 Difficulty: 2.5 Members Only
Today
Matt will be taking a look at the solo section from the live version of the Smashing Pumpkins song "Today".
Length: 7:29 Difficulty: 2.5 Members Only
Back In Black Solo
Matt Brown reviews and discusses the solo section to AC/DC's hit "Back In Black".
Length: 9:34 Difficulty: 2.5 Members Only
Brother
In lesson 26, Matt covers the solo section from the Alice in Chains song "Brother".
Length: 9:42 Difficulty: 2.5 Members Only
Matt's Rock Manifesto
Matt Brown discusses lead guitarists, what makes a good solo, and tips for your own lead playing.
Length: 41:06 Difficulty: 0.5 Members Only
Legato Playing Exercises
Matt Brown teaches a number of exercises aimed at improving your legato playing technique.
Length: 37:16 Difficulty: 1.5 Members Only
Right Hand Exercises
Matt Brown demonstrates a few exercises to build skill and speed in your right hand.
Length: 15:06 Difficulty: 1.5 Members Only
String Skipping Etude
Matt Brown teaches Heitor Villa-Lobos' 1st Etude as a lesson in string skipping.
Length: 38:47 Difficulty: 3.0 Members Only
Three Octave Scales
Matt Brown demonstrates how to play three octave versions of the minor pentatonic and the major scales in all 12 keys.
Length: 16:56 Difficulty: 2.0 Members Only
Diatonic Intervals
Matt Brown demonstrates how to play all seven of the diatonic intervals within the framework of a horizontal major scale.
Length: 23:01 Difficulty: 1.5 Members Only
Diatonic 7th Arpeggios
Matt Brown discuss diatonic arpeggios as a theory lesson as well as demonstrating the technique.
Length: 9:55 Difficulty: 1.5 Members Only
Diatonic 7ths Across the Neck
Matt Brown explains how to play the diatonic seventh chords of the major scale. Similar to lesson 32, this lesson takes a horizontal approach to the fretboard.
Length: 10:46 Difficulty: 1.5 Members Only
Solo Ideas #1
Matt Brown teaches a progression and accompanying solo to demonstrate ideas for creating your own.
Length: 21:34 Difficulty: 2.0 Members Only
Solo Ideas #2
Matt Brown takes a look at another chord progression and solo.
Length: 17:29 Difficulty: 2.0 Members Only
Legato Playing Ideas
In lesson 37 of the Rock Series, Matt Brown demonstrates and talks about legato playing ideas.
Length: 21:24 Difficulty: 2.5 Members Only
Rhythm Concepts
Matt Brown switches gears in lesson 38 to start talking about rhythm concepts for rock playing.
Length: 27:44 Difficulty: 1.5 Members Only
Compositional Techniques
Matt Brown discusses some often used techniques to build effective rock compositions.
Length: 17:27 Difficulty: 1.5 Members Only
Creative Chord Voicings
Matt Brown shows off some ways to add some creativity and originality to your rock chord voicings.
Length: 11:59 Difficulty: 1.5 Members Only
Lead Approach
Matt Brown takes another look at his approach to soloing. He demonstrates ideas you can use in your own playing.
Length: 12:10 Difficulty: 2.0 Members Only
Lead Approach #2
Matt Brown adds practice to his lead approach by giving you another chord progression to solo over.
Length: 7:14 Difficulty: 2.0 Members Only
Lead Approach #3
Matt Brown has another chord progression and solo exercise to go over in this lesson on lead approach.
Length: 10:25 Difficulty: 2.0 Members Only
String Skipping Revisited
Matt Brown takes another look at string skipping. He breaks down some key areas of Matteo Carcassi's Allegro as an exercise.
Length: 16:29 Difficulty: 2.5 Members Only
About Matt Brown
View Full Biography
Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."
Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Hi! If I'm bending two strings down, should I be trying to use my fingertips or is it ok to use the fleshy part of my fingers?
If you're bending two strings at the same time, I personally think it's easiest to bend the strings upwards towards the ceiling, but you can bend them towards the floor. If you're using two fingers to bend two strings, use your fingertips like you normally would if you were bending one string. Some players prefer to bend two strings at the same fret with just one finger. I've never had any luck doing this. To do this successfully though, you do need to use some of the pad of your finger.
Forty six and two are just ahead of me
Hi Matt - great series. I've been an acoustic player and now learning electric. Bends and vibrato much harder than I thought! Any tips on how i can keep from catching the third string when bending the second up? Third string makes a rather annoying sound when I let off the bend.
Hi! I'm glad you're enjoying the lessons! When bending one of the treble strings (3rd, 2nd, and 1st), I always mute the lower adjacent string with my right hand palm. In other words, when you're bending the second string, rest your right palm lightly on the third string. Applying this technique will eliminate the third string pull-off sound that you're getting. As a warning, this will take some time and patience to get used to.
I didn't really understand the 4th exercise.
Hi! If you're referring to the 4th exercise listed under supplemental content, here's what you do...Leave the pinky finger anchored at the 15th fret of the first string. Strike this note after each bent note that is played on the second string. Hope this helps!
cool exercises matt!
I understand bends. The one problem I am having is bending a string when you are fretting the one above it. Especially if it is the same fret. For example 14th fret 2nd and 3rd strings bending the 2nd string. Atleast that is the way it is written on the tabs. Unless they are talking about bending the 3rd string but the bend arrow only points to the 2nd. The song is Tesla's "Song and Emotion". Can you please explain.
ur supposed to mute them, but for me it still doesn't work every time so it can get irritating.
Yeah...bending is one of those things that just takes time to get used to. It's something that I've had to work on a lot over the years.
Im having trouble making other strings sound when bending, any tips to prevent that?
I usually rest the heel of my hand on the lower strings that are not being used. That will mute them and prevent any accidental vibration.