Virtually all the notes that we've been playing so far have been  
related harmonically as either fifths or octaves.  This is largely  
because at bass frequencies, smaller intervals do not give a  
sufficient gap (in terms of Hertz) to allow your ear to tell them  
apart.  This can be most clearly seen on a piano where the left 
hand  
(the bass) often plays octaves while the right plays a much closer  
harmony (usually thirds or less).  If you were to play thirds 
at bass  
frequencies they would sound a muddy mess.

If we look a little more closely at the idea of left hand fifths,  
there are two ways they can be played in the context of the tapping  
we've done so far.  We can either place the root on the E or the A  
string.  We'll consider each of these in turn.

We'll use the A Major Chord (as it's the one we're most familiar  
with), so placing the root on the E string, and tapping the fifth and
octave on the top strings we get:
   
|————————14———————|
|————————14———————|
|—————————————————|
|————5————————————|

The fifth of the A chord is E.  This is easiest played on the seventh 
 
fret of the A string, so we may alternate between this and the 
root.    
|———————14—————14—|
|———————14—————14—|
|———————————7—————|
|————5————————————|

Looping this round should give you a pretty good idea of where 
we're  
heading this week.

The alternative to placing the root on the E string is to play 
the root  
on the A string.  We can't play this using open strings, as you 
can't  
hammer on an open string, so we'll play this at the twelfth fret
   
|———————14————————|
|———————14————————|
|————12———————————|
|—————————————————|


We've played that plenty of times, so we can quickly add the fifth 
on  
the E string.  Moving up a fifth is harmonically the same is moving  
down a fourth, so this note is again found at the twelfth fret.
   
|———————14—————14—|
|———————14—————14—|
|————12———————————|
|——————————12—————|


This is the same E as we previously played on the A string, 7th  
fret, but now the A is above it, and we've reached it by moving  
down.  This is particularly obvious when we move between the two  
patterns:

|————————————————14—————14——————14————14—————————|
|————————————————14—————14——————14————14—————————|
|————————————12————————————————————7—————————————|
|———————————————————12———————5———————————————————|

When we move between chords we can choose which INVERSION we use to  
minimize hand movement, and to keep the bass line moving in a  
melodic fashion.  In the following example we move from a C major  
chord with the C on the A string, playing a G on the string below  
(this is known as 2nd inverson), to an A minor root position (A at  
the bottom on the E string, with a fifth on the A string).

|————————————————17—————17———|——————14—————14——————|
|————————————————17—————17———|——————14—————14——————|
|————————————3———————————————|——————————7——————————|
|————————————————————3———————|———5—————————————————|


This vamp forms the basis of the Stu Hamm track "Country Music (A  
Night in Hell)".  Repeat it round until you've got a really  
comfortable rhythm going.

Before considering the whole tab we need one more trick — a major  
third for the right hand.  I'll cover these in more detail next 
time,  
but for now place your right hand in a position to play a fourth 
(as  
we have done so far), and just stretch your middle finger a little  
further so it plays one fret further down:
    
|———14—————13—————|
|———14—————14—————|
|—————————————————|
|—————————————————|


You should now have few problems with the full rhythm part to 
"Country  
music".  It's mostly based on the stuff we've covered this week.  
Watch out for the slapped parts (marked with a T).  You should be  
able to slap these without moving your hand too far away from the  
tapping position (see lesson 3).


|—————————|———17———17———17———17—————|———17———17———17———17—————|
|—————————|———17———17———17———17—————|———17———17———17———17—————|
|———————2—|—3—————————3—————————————|—3—————————3—————————————|
|—3——5————|——————3—————————3————————|——————3—————————3————————|
  T  T  T

|———14———14———14———14—————|———17———17———17—17———17—————|
|———14———14———14———14—————|———17———17———17—17———17—————|
|——————7—————————7————————|—3—————————3————————————————|
|—5—————————5—————————————|——————3————————————3————————|


|———14———14———14———14—————|———17———17———17———17—————|
|———14———14———14———14—————|———17———17———17———17—————|
|——————7—————————7————————|—3—————————3————5————————|
|—5—————————5—————————————|——————3——————————————————|


|———16———16———16———16—————|—————————————————————————|———||
|———17———17———17———17—————|—————————————————————————|———||
|——————5—————————5————————|———————————2——3————————2—|—3—||
|—3—————————3—————————————|——3——3——5————————3——5————|———||

                             T  T  T  T  T  T  T  T   T