Over the course of the next few months, I’d like to share my approach to songwriting within the context of my band’s self-titled debut album, Periphery. Specifically, we’ll look at the ways in which I combine unusual chordal patterns and single-note riffs in the quest to create new sounds and unearth fresh musical concepts and ideas.

When writing on a standard-tuned six-string guitar, I tend to move my fingers in familiar patterns and reach for the same chords and shapes. To break this habit, I employ a few go-to devices, including using alternate tunings, composing guitar riffs on a keyboard and introducing the extra range of a seven-string guitar into my writing. I used this last method to great effect on the final Emperor album, 2001’s Prometheus: The Discipline of Fire & Demise.

In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends. This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing. To start off, I’m going to show you a lick in the key of B that I use on the track “The Nightmare Unravels,” from my latest solo CD, The Art of Malice.

Chet Atkins made countless recordings as a studio musician, producer and solo artist. Many of his recordings — particularly those of the artists he produced in Nashville, like Elvis Presley, Roy Orbison and the Everly Brothers — laid the foundation for early rock and roll.