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Your first close encounter of the 12-string kind can be a startling experience. It's probably bigger than what you're
used to, and there doesn't seem to be any room between the strings. Fingerpickers will notice this even more and
have the additional problem of trying to pluck two strings at once. The 12-string acoustic has a bright, shimmering
sound with loads of high notes where you don't normally get them. It produces its own "chorus" effect by never
being precisely in tune. (Listen to Dave Mason's 12-string contribution to Hendrix's 'All Along The Watchtower'.) If
you fall for the 12-string's charms, you may feel you will never be able to look a 6-string in the soundhole again.
Fortunately, this passes.
On a 12-string, the bottom three strings alone generate a chord similar to what you would get on a 6-string. Triad
shapes become the equivalent of a 6-string chord. For example, hold C on the fifth string, third fret; Eb on the fourth
string, first fret; and play the G string open. On a 6-string, this produces a C minor triad. On a 12-string, it produces
the rough equivalent of playing a standard C minor barre chord at the third fret. Out of the movement of these triads
can come different harmonic progressions and ideas. If you want to get really adventurous with a 12-string, try
tuning it so the first string of each pair is a fourth below its partner: bE, eA, aD, dG, f#B, bE. This can produce some
wonderful chords.
The Beatles, The Byrds and R.E.M. have all benefitted from the "chimes of freedom" of the electric 12-string, which
can be a welcome addition to a recording. The classic way to play the electric 12-string is to pick chords in rapid
arpeggios. It's unusual to attempt to play a guitar solos on an electric 12-string, and string-bending is difficult if you
push any further than a semitone (half-step).
The twin-neck electric 6+12 has certain unique musical possibilities – and with one neck on and one off, you can
explore the wonders of sympathetic resonance.
Harmonized and Non-Harmonized Lead Breaks and Fills
Quite a few bands, including Queen and Thin Lizzy, have featured twin-guitar breaks that are carefully harmonized.
(Nowadays, intelligent pitch-shifters will allow you to create harmonized lines from a single guitar part.) The
standard intervals for such harmonizing are thirds, sixths or octaves, though a few fourths add interest providing that
they are in keeping with the harmony. Examples include the guitar lines on 'Whisky In The Jar', 'Don't Believe A
Word', 'The Boys Are Back In Town' and 'The Dean And I'.
Non-harmonized combinations of lead guitars are harder for the ear to keep track of because the focus of attention
keeps moving back and forth. As a result, there is built-in unpredictability, and each listen often reveals something
never heard before. The effect of two guitars independently soloing can be heard on Wishbone Ash's 'Throw Down
The Sword', Janis Joplin's cover of 'Summertime' (part of which is free form and part of which is arranged), Love's
'A House Is Not A Motel' and in many places on Layla And Other Assorted Love Songs.
To try this, set up the track for your solo and record a take. Do another pass without listening to the first take in your
cans. Play both back and pan left and right. If you retained any ideas from take 1 for take 2, it is possible they may
coincide, which will give moments of reinforcement. Some phrases could be deliberately played a couple of times if
you want three or four guitars at once.
The 'Telegraph' Figure
This is a repeated note played high up (like a pedal in reverse) and is good for creating a sense of drama. Examples
can be heard in 'S.O.S.', 'The Happening', 'Melting Pot' and 'You Keep Me Hanging On'.