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By Nakamura, Tachibana, Kobayashi

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1 (Triplet Line Cliché) CD Track #36 Am  Am7 Am6 Dm 3 3 3 3  3 3 3              3      4  Am(maj7) 1 2 3 4 1 2 1 2 3 4 1 2 1 2 2 3 3 1 1 2 3 2 1 2     s s     s s     s s     s s  17 12 12 13 16 12 13 12 13 15 12 12 13 14 13 14 14 12 12 13 13 14 13 13 14 Picking Pattern #11 The following diminished sequence (Ex. 1) sounds great with the dou­ ble-bass picking pattern. 1 (Diminished Double Bass Pattern) CD Track #37 D7 D7(b9) 2 13   2 13 D7(b9) 2 13 4fr D7(b9) 2 13 7fr D7(b9) 2 13 10fr D7 2 13 7fr D7(b9) 2 13 4fr                                                 s  s s  s     s   s     s              1 2 2 4 2 5 5 7 5 8 8 10 8 11 11 11 7 8 8 4 8 5 5 1 5 2 The following ascending minor chord pattern (Ex.

Play a downstroke on the B string and rest on the high E string. ✦ Play a swept-stroke on the high E string and follow through. ✦ Play a downstroke on the high E string and follow through. Picking Pattern #7 (Odd String HorizontaI Arpeggio)   CD Track #8   0   0   0  s 0  s 0   0   0  s 0  s     0 0 0    0 0 s ● ✦ GYPSY PICKING 26 Picking Pattern #8: Triplet Pattern #1 Picking Pattern #8 is a commonly used triplet pattern. Notice that unlike Picking Pattern #6, downward string changes are always preceded by downstrokes.

1) sounds great with the dou­ ble-bass picking pattern. 1 (Diminished Double Bass Pattern) CD Track #37 D7 D7(b9) 2 13   2 13 D7(b9) 2 13 4fr D7(b9) 2 13 7fr D7(b9) 2 13 10fr D7 2 13 7fr D7(b9) 2 13 4fr                                                 s  s s  s     s   s     s              1 2 2 4 2 5 5 7 5 8 8 10 8 11 11 11 7 8 8 4 8 5 5 1 5 2 The following ascending minor chord pattern (Ex. 2) is used by Sinti guitarists for accompanying ballads or for solo guitar pieces.

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