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.
"You know,” says Dave Mustaine, “the other day I was trying to explain to a friend the story of King Midas, and how terribly lonely that must have been for him to have everything he touched turn to gold. "After a while that’s gotta suck, don’t you think? Especially if you touched your loved one…” The Megadeth singer and guitarist lets out a big laugh. “Although given some of the people I’ve had in my life, I’d probably be better off.”
After some speculation from fans that 2011's Thirteen might have been the band's last record, Megadeth mainman Dave Mustaine made it official last night via Twitter that the band had started work on their fourteenth studio album.
Last month I introduced an original composition that involved the use of quickly played arpeggios, as well as utilized two-hand tapping techniques to emulate the way in which classical pianists play fluid-sounding arpeggios across multiple octaves.