When writing riffs, one of the greatest challenges is to create parts that are not just melodically and rhythmically effective but also memorable and powerful. The best metal riffs—like “Crazy Train,” for example—contain all of the qualities necessary for a great riff: hard-driving power, strong melody and, most importantly, a “star quality” that makes the riff instantly recognizable. This is true for both fast and slow riffs, because a really great riff doesn’t have to be impressive exclusively in a technical sense. This month, I’d like to present a couple of riffs that I believe exemplify these qualities.

Last time, we kicked off this series of Brewtality columns by going over some basic, but essential, stuff and learning how to play the A minor pentatonic scale (A C D E G) all over the neck. We did this by learning the five fretboard patterns shown in FIGURE 1.

The title of this month’s column refers to the standard minor pentatonic “box” patterns that so many guitar players rely upon when soloing. While they are valuable, they can be restricting if they represent the primary way in which one utilizes these scale patterns on the fretboard. When playing in the standard box pattern, we generally play two notes per string. What I will do in this column is demonstrate a way to break free of the two-notes-per-string approach by combining it with three-notes-per-string patterns using sweep picking.

As the Black Label Society's leader (and Ozzy's guitarist for more years than anyone else), Zakk Wylde has become infamous for his brew-tal riffage and lethal lead style. Remarkably, though, he also has a soul-stirring softer side.