I stress that because I couldn't do a live gig if you paid me. However, because of midi, combined with my knowledge of theory and studying the styles and sounds of great players, I can fool people into believing I'm keyboard player. I also can sing, play drums and program incredibly realistic-sounding drums that fool many drummers. Bass? No problem!
In the last few columns we've been zoning in on lead-playing and shit so let's get back to doing some hard-driving rhythm work for a while-'cos well-balanced players rip on rhythm as well as leads. As far as I'm concerned, it's no good being able to wail out smokin' leads if your rhythm chops hugg! I've been into playing rhythm from day one, and a lot of that has to do with having a brother who kicks ass on drums.
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.
The fourth finger is often neglected when it comes to playing guitar. Well, rock/blues guitar, at least. I notice players opt to do wide stretches between their second and third fingers rather than using the fourth. As a result, the fourth finger is very underused and gets weak. This generally begins when someone first starts playing guitar.
Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.