This is an alternate-picking run based on an add9 arpeggio shape on the top three strings that’s moved up and down the neck to four different positions and tonal centers, with a slight variation in bar 2. It begins in E, moves down to C with a little twist—more on that in a moment—then up to D and finally A.
In this lesson, Kenny discusses 7th chords and how they can be used to enhance any blues progression. He also demonstrates short forms of the chords that can be used for a softer sound. While discussing the 7th chords, he also talks about some of Jimi Hendrix's favorites. Check out the lesson video below — complete with video.
I’ll be showing you a relatively unknown picking technique used by Eddie Van Halen. It can be heard in countless Van Halen songs, including "I’m the One," "Spanish Fly" and "Jump." This technique is based on a combination of hammer-on notes and alternate-picked notes. Eddie likes to take a fingering pattern and hammer on the notes on one string, then alternate pick the same pattern on an adjacent string.
In this Monster Lick, I'm using a variation of the G pentatonic scale. The scales used are the flat five (or blues scale), major 3rd and major 6th pentatonic. This is achieved simply by adding the above scale tones to the standard minor pentatonic. The notes in the G minor pentatonic are G, Bb (or A#), C, D, F. The flat five is a Db (or C#), the major 3rd is a B and the major 6th is an E.
A fan of classical music, Randy Rhoads was one of the first American guitarists to successfully incorporate classical music elements into heavy metal. (“Euro-metal” guitarists, including Ritchie Blackmore, Yngwie Malmsteen, Uli Jon Roth and Michael Schenker, had also experimented with melding the two genres.)
One of my prime objectives when writing music for my band Revocation is to try to push the envelope and come up with sounds, ideas, chord patterns, progressions and riffs that have been rarely explored within the thrash metal genre.
A good way to do this is to use seventh chords, which are rarely heard in metal. This month, I’d like to demonstrate a few cool ways one can use one particularly cool- and tense-sounding seventh chord in heavy, thrash-style riffs.
I’ve often been associated with players that use specific picking techniques, such as sweep picking, economy picking, hybrid picking and so on. In truth, I have no idea what any of these terms mean. Sweep picking does not appeal to me at all.
To my ears, it’s very unmusical. In my music, you will hear some insane, fast arpeggio-based lines, but it’s never simply straight up and down through the arpeggios, the way sweep picking usually is performed. This month, I’d like to demonstrate some cool ways you can achieve the effect of fast arpeggio-based sounds while avoiding the predictability of standard sweep-picking licks.
The mind of a songwriter is often wired differently than that of a guitarist. Though the two cross paths often, it’s rare to see a pro-level guitar player (particularly a lead guitarist) and a successful songwriter embodying the same human being. Some exceptions might include Kenny Wayne Shepherd, Eric Clapton and Brad Paisley. But usually it takes two.
This lick is in the key of C# minor and starts off with a C#m(add9) arpeggio [C# D# E G#]. The arpeggio in the first beat is actually just a straight C#m triad [C# E G#] played across all six strings in two octaves, although landing on the high D# note [first string, 11th fret] provides the ninth degree.