If you've been following my blog posts, you will know I recently recorded guitar solos for the new White Wizzard album, The Devil's Cut. I recently got together with my band mate and fellow White Wizzard guitarist, Jake Dreyer, to go over our favorite solos from the album and show you how to play them.
What I love most about this scale is that tonally there are no surprises for the listener; it is harmonically beautiful whether played fast or slow. Obviously, this particular lick is to be played with some speed, but if you break it down, you could use any line from it and lead into a bend or slide — and it would sound incredible.
Fretboard tapping has earned a bad name in certain sectors of the guitar community. Some players dismiss it as a technique suitable only for perpetrating the worst possible kind of overblown, unmusical histrionics, preferably played through a wall of amps that “go to 11.”
Hey, everyone! In the past few blog posts, I've been discussing various arpeggio exercises in order to show you how notes on the fretboard are connected, and also how to master the fretboard. In this column, I'd like to continue the arpeggio discourse but also really challenge you by taking it up a notch. I present arpeggio inversions!