When soloing, I try to use a balanced mix of scales, intervals and arpeggios. Something I always struggle with is trying to incorporate arpeggios into my solos without having them sound too generic. A lot of the common arpeggio shapes are difficult to use without sounding "cliche" or like a bad Yngwie Malmsteen clone.
In this classic entry from his "Riffer Madness" column, Dimebag Darrell talks about more ways to pump up your riffs: Hey, Dad! What's shaking? This month we're gonna rap about a few ways you can pump maximum heaviness into a riff. Read on!
This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#).
As one of the most popular indie-rock acts of the ‘80s and ‘90s, Throwing Muses helped to pave the way for a host of female-fronted bands that came after them. Now after a ten-year absence, Throwing Muses have returned with Purgatory/Paradise, a release that easily contends as one of 2013’s most intriguing records
Greetings, and welcome to another segment of 4RM's tour diary. This installment is about four differences between big and small shows. Many readers will probably guess what these differences are, but perhaps you can get a chuckle as we stumble our way through them. For those who haven't experienced these situations, enjoy!