Basic Bends (Guitar Lesson)

Chapter 1: (00:16) Lesson Intro Dave rips on some licks from the A minor blues scale to demonstrate the topic of this lesson. In this lesson, you will learn how string bends can add a soulful, expressive element to your lead guitar playing.
Chapter 2: (15:59) Basic Bends Bends can add feel, soul, and texture to solos, riffs, guitar melodies, and much more. Dave will teach you the important technical components of this essential technique. He will also demonstrate how to apply string bends to a practical musical setting.

Bending Technique

Note: Some of the following information is taken from lesson 7 of Matt Brown's Phase 2 Rock series of lessons. Visit this lesson for more information about bending.

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 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, country, and jazz 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. Most players 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.

C. 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.

The direction in which you bend a string especially those located in the middle of the fretboard is mainly a matter of personal preference. If you watch JamPlay instructor Mark Brennan for example, he likes to bend many notes on the G string towards the floor. Dave MacKenzie typically bends notes on the first through the fourth strings in an upward motion (towards the ceiling). He prefers to bend notes on the sixth and fifth strings towards the floor.

D. 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.

E. Bending Examples

At 02:30, Dave demonstrates a half step bend from the 9th fret of the B string. This note is G#. He bends this note up to the pitch A. Compare the pitch of the bent note to the note played at the 10th fret (without a bend). Are the pitches of these notes in tune with one another?

Next at 03:00, he demonstrates a whole step bend. He bends the note A played at the 10th fret of the 2nd string up one whole step to the pitch B. Play the B pitch B at the 12th fret as a reference.

F. Practicing Bends

Practice half step and whole step bends all over the fretboard. In the course of playing a solo, you will want to have the option of bending any note to a wide variety of intervals. Also, bends are much easier higher up on the fretboard. Start practicing your bends around the 12th fret. Then, slowly work your way back towards the nut.

Practice bends with all fingers. It is very difficult to bend with the pinkie finger. Work at this process very slowly. When bending with any finger other than the index finger, use the other fingers as leverage. Use the strength of the other fingers to help push the string upwards or downwards.

G. Combining Techniques

You can combine other techniques such as pinch or pick harmonics as well as vibrato to a bend. Dmac provides an example of some Zakk Wylde licks at 06:12. He plays a pinch harmonic, bends the note, and ends in vibrato. That's three techniques at once! Combining multiple techniques is quite common in hard rock and metal solos. Dimebag Darrell, Kirk Hammett, and many others frequently exploit combinations of these techniques in their solos as well as rhythm guitar riffs.

H. Two string Bends

These bends are use quite often in several styles of music. They appear very often in blues, country, rock, metal, etc. Dave demonstrates one such bend played at the 15th fret. He plays the note G at the 15th fret of the highest string. Then, he simultaneously bends the note at the 15th fret of the B string up a whole step. This produces the notes E and G. These two notes are included in the E minor triad as well as the C major triad. Consequently, this bend works well over these two chords.

I. Bends Involving Three Strings

Dave holds the third and fourth fingers down at the fifteenth fret of the 1st and 2nd strings. Then, he bends the note A up a whole step to the pitch G. These notes played together make an entire G major chord. This bend works well over a G chord and an Em chord.

This bend can be fingered a different way. Some players prefer to barre the high strings with the pinkie finger. Then, the third string note is bent with the third finger. Focus on finger independence. Two fingers must remain fixed while one finger must perform bend.

J. Unison Bend

This is probably the most common type of bend that involves more than one string. You will hear this sound in countless guitar solos. Check out the beginning of the guitar solo in "Dazed and Confused" by Led Zeppelin to hear a classic example of this technique. This solo begins with a string of unison bends played on the G and B strings.

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.

K. Final Thoughts

If you have any questions concerning this lesson feel free to send Dave a message here on JamPlay. The JamPlay staff and community are always willing to help.

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