Double and Triple Stops
A Double-Stop is the technique of plucking 2 strings simultaneously. The term came from classical stringed instruments, which were usually only played one note at a time with a bow. For guitar, we are often playing multiple notes as such; but we do not refer to strummed chords (or really any type of rhythm playing) as double-stops. The term applies more towards incorporating intervals into lead or melody playing.
A Triple-Stop is the same thing but uses 3 simultaneous notes. One could go on to quadruple, pentuple, etc., but we rarely see anything beyond triple-stops.
Contents
PreReqs
- 1st and 2nd Strings - Intervals
- Finger Picking (for Chicken Pickin)
Harmonized Runs
A rather basic use of double-stops are to make harmonized runs. There's nothing too special technique-wise here - you just need to curl your finger fretting the low note so that the higher string can sound.
Here's some harmonized 2-string runs that use a constant interval relationship between the two notes:
3rds:
E-0--1--3--5--7--8--10-12- B-1--3--5--6--8--10-12-13-
B-1--3--5--6--8--10-12- G-2--4--5--7--9--10-12-
4ths:
E-1--3--5--7--8--10-12-13 B-1--3--5--6--8--10-12-13-
B-1--3--5--6--8--10-12-13- G-0--2--4--5--7--9--10-12-
5ths:
E-3--5--7--8--10-12-13-15 B-1--3--5--6--8--10-12-13-
B-3--5--6--8--10-12-13-15- G-0--2--4--5--7--9--10-12-
And here's some 3rd's over all pairs of adjacent strings:
E-------------------------------------1--3--5- B----------------------------1--3--5--3--5--6- G-------------------0--2--4--2--4--5---------- D----------0--2--3--2--3--5------------------- A-0--2--3--2--3--5---------------------------- E-1--3--5-------------------------------------
This gets a bit trickier when the strings aren't adjacent. Here's the last sequence harmonizing in 7ths:
|m| |r| |-|r| |-|r| |-|m| |-|-|r| |-| |-| |-|-| |-|-| |-|-| |-|-|-| |i| |m| |i|-| |m|-| |i|-| |i|-|-|
E----------------------------3--5--7- B-------------------3--5--6--x--x--x- G----------2--4--5--x--x--x--2--4--5- D-2--3--5--x--x--x--2--3--5---------- A-x--x--x--2--3--5------------------- E-1--3--5----------------------------
We have to use the finger fretting the lowest string to mute the string between the strings we want to play. This takes finesse. You want to curl the finger slightly - you cannot make a barre or you may accidentally fret the middle string. It has to touch the string with enough pressure however to prevent it from resonating. You may also want to use the finger fretting the higher string, extending your finger tip enough so that it touches the middle string while cleanly fretting the high string.
Chromatic Runs
Chromatic double-stop runs are frequently used in Blues, which transcends into many other styles. Here's an example of both descending m3's and ascending M3's:
B-7--6--5--4--3--2--1- G-8--7--6--5--4--3--2-
B-3--4--5--6--7--8--9- G-3--4--5--6--7--8--9-
And triple-stops as an inverted dominant 7th chord without the root:
E-8--7--6--5--4--3--2- B-7--6--5--4--3--2--1- G-8--7--6--5--4--3--2-
Bends
Double-stops often have one note of the interval bent upwards. This sweeps through numerous intervals between the two strings, including micro-tonal ones. It demonstrates a strong tension-release, as the bend itself because quite chaotic until it hits the target note, which is usually a pretty harmonious interval.
Here's probably the most common example, which is often played in E Blues or E Minor Pentatonic.
B-15-(15)- G-14-b16--
The double-stop starts on a P4 interval. As the low note is bent upwards, we pass through the M3 and land on the m3 interval.
Here's the same lick expanded as a triple-stop:
E-15-(15)- B-15-(15)- G-14-b16--
This moves from a suspended-sounding chord composed of stacked P4's to a 1st inversion G major chord.
Another common bent double-stop is called a Unison Bend. Here the low note of the double-stop is bent up to the same pitch as the upper note.
E-12-(12)- B-15-b17--
B-12-(12)- G-14-b16--
Even if the bend is done particularly fast, the unison bend has a different tone than playing the note alone, as well as sliding or bending into it without the double-stop. On the other hand, if done slowly, you hear all the dissonant beating between the notes as the low note gets closer and closer to the target note, until they finally meet in pitch and the tension is resolved.
Bluesy Beating
Since double-stops are associated with leads and leads are typically distorted, intervals can create a beating between the notes caused by intermodulation distortion. This can be used to our advantage:
G------12--(x)---12--(x)---12--- D-/14-(14)-(14)-(14)-(14)-(14)-
So here we are sustaining the low E note while alternating between playing and muting the high G above. We hear the beating of the m3 interval when the high G is sounded, but then it goes away when we mute. It almost sounds like we are toggling on/off some kind of effect that makes the low E change how it is being expressed.
Chicken Pickin
Chicken Pickin' is a technique where you use the plectrum to pick the lower note of a double or triple stop, while using the middle or ring finger of the picking hand to pick the higher note(s). This is helpful for many reasons:
- If the strings are not adjacent, you don't have to worry about muting the strings in between. This delivers a cleaner sound, helpful for playing softer passages where plucking the muted string adds too much of a percussive sound.
- When doing runs of double-stops, it's easier and faster to pluck the correct strings.
- The tone of the pick and fingers are slightly different, allowing greater expression.
- The finger can be used to quickly mute and pluck the string, allowing easy bluesy double-stops.
E--------17---------14----------17---------14-- B-12/15-(15)-15\12-(12)--12/15-(15)-15\12-(12)-
E--------17---------14----------17---------14-- B---------------------------------------------- G-14/17-(17)-17\14-(14)--14/17-(17)-17\14-(14)-