It's hard to imagine how rock or heavy metal music would have evolved without this essential cast of characters. However, it's important to be objective and to look at both sides of the fence when evaluating the impact these players' fame and reputation have had on future guitarists as well as their own musical growth.
This is a wide-stretch, legato string-skipping idea that’s based on a symmetrical fretboard shape that moves across the neck in a single position. It’s articulated entirely with fret-hand hammer-ons and pull-offs, and I use my pick hand as a string damper by reaching over behind the fret hand and grabbing the neck to mute the idle strings and prevent them from ringing.
By looking into the four dim7 and four 7th chords that are built from this scale, you can expand your 7b9 diminished soloing ideas without having to study anything beyond these two common arpeggio shapes. Let’s dig in and check out how you can use harmonic arpeggios to build interesting lines when using a 7b9 diminished scale in your soloing ideas.
Usually you hear hybrid picking associated with country guitar or all things Eric Johnson. It's not a particularly aggressive technique, so it's rare in hard rock and metal. Hybrid picking in a Metallica song? Probably not. But Metallica is Metallica — and you're you.
This is a fast 16th-note alternate picking run in C# minor that starts out on the high E string and moves across the neck, staying pretty much in the ninth through seventh positions and ending with a whole-step pull bend and vibrato on the low E string.
Waters, the father of modern Chicago blues, was a major inspiration to several generations of blues artists — including most of the key players in the British blues explosion of the Sixties. He also helped define blues for the latter part of the 21st century—an impact felt in a host of other genres including rock, R&B, folk and country.
One key to becoming a more versatile blues soloist is learning to combine the minor pentatonic and major pentatonic scales to create guitar lines that go beyond the minor pentatonic scale. As a prerequisite to this lesson, you should have a basic understanding of the finger positionings for the minor pentatonic and major pentatonic scales, particularly the first and second positions of both scales.
I tap with my middle finger and begin this lick by flicking the string with the finger to get the sound going, doing a "phantom" pull-off to the A note at the fifth fret. I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere."
What we’re going to be doing today is drawing on this knowledge to learn how to combine the minor and major pentatonic scales to create patterns that give us a very unique and interesting sound. For this example let’s start off by running through the first position of A minor pentatonic starting on the fifth fret of the sixth string.
I begin in ninth position with a fairly compact shape that spans the ninth to 12th frets. At the end of bar 1 and moving into bar 2, the fret hand shifts down two frets and spreads out to cover a four-fret span, from the seventh fret to the 11th. Use your first, second and fourth fingers to fret the notes.