The exercises in this month’s column emphasize pick-hand techniques that are intrinsic to my style: sweep picking, alternate picking and multiple-finger fretboard tapping. Specifically, I wanted to create a convergence of these different playing techniques within a musical-sounding piece.
“This first lick [FIGURE 1] is an arpeggio etude [musical-sounding exercise] in A minor that integrates tapping, multiple hammer-on and pull-off combinations and a little bit of economy picking into a steady stream of 16th notes. It pretty much stays within the realm of the A minor pentatonic scale [A C D E G], with the flatted fifth, Eb, added in the last two bars.
This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.
With his monolithic chops and die-hard work ethic, Broderick has emerged as the scariest monster shredder on the planet. As he makes clear in the above quote, Broderick has a deep respect for both music and musical performance and has pushed himself relentlessly in the pursuit of technical proficiency and musical freedom. No less an authority than Dave Mustaine calls Broderick “the greatest guitar player Megadeth has ever had.”
It’s no surprise that a signature model guitar designed by Megadeth lead guitarist Chris Broderick and Jackson Custom Shop master builder Mike Shannon is a lean-and-mean shred machine. However, the Jackson Chris Broderick Soloist 6 is packed with so many ergonomic and performance enhancements that players who aren’t into Megadeth or even metal in general should check it out as well.