Unison Bending
Unison bends — play a note on one string while bending the adjacent string to match its pitch. Two-note simultaneous hits that create a dramatic unison effect. Progresses across string pairs.
Tablature
First few measures of the exercise.
How to Practice
- 1Measures 1-2: String 3 fret 9 (target D) + string 2 fret 7 bend whole step (B→D unison). Play both notes simultaneously.
- 2Measures 3-4: String 2 fret 10 (target A) + string 3 fret 7 bend whole step (G→A). Reverse string pair.
- 3Measures 5-6: Moving unisons across positions with vibrato on the bent note for extra expression.
- 4The goal is to hear both notes merge into one — when the pitches match perfectly, any beating disappears.
Tips & Techniques
- •Use your ear — the moment the pitches match, you'll hear the beating stop and the notes fuse.
- •The unbent note is your pitch reference. Keep it steady and adjust the bend to match.
- •Use multiple fingers behind the bending finger for strength and control.
- •Start without the metronome (free time) to focus on pitch accuracy, then add rhythm.
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Ćwicz teraz →Related Exercises
First Bend – Whole Step
Introduction to whole-step bends across two strings in Am pentatonic position 1. Play the target pitch first so your ear knows where to aim, then bend from the lower fret up to match it. Half-note pacing gives you time to really listen.
First Bend – Half Step
Introduction to half-step bends across two strings in Am pentatonic position 1. A subtler, more controlled bend than a whole step — used constantly in blues and rock for that slight push of tension. Play the reference pitch first, then bend from below to match it.
Bend & Release
Whole-step bend followed by a slow, controlled release — on both G and B strings in Am pentatonic position 1. The release is the harder skill: the string must drift back smoothly while still ringing. Half-note values give you time to feel every stage of the movement.
High Register Bends – 15th Fret
Whole-step bends on the B and high e strings at the 15th fret — the same Am pentatonic shape as position 1, shifted two octaves up. High frets require less physical force to bend but demand better pitch control: the strings are short and tight, so overshooting is easy.