We all have busy lives and responsibilities that distract us from our playing. For this reason, I've developed a quick, intensive guitar "workout" that can be completed in 30 minutes. You can use this by itself as a quick practice when time is limited or incorporate it into a longer practice session. Either way, this workout will help develop your playing in a number of important areas.
I’d like to focus on riffs and rhythm ideas that represent what I think of as “the real deal” metal. I’ve designed these riffs to help you build up both your pick-and fret-hand technique in regard to executing pure metal ideas like these with power and precision.
Part 7 is very interesting because it relates very closely to Part 3. This new section follows the same themes within Part 3, but in a different relative key. Part 3 was based around Bb major, which is the relative major scale of G minor. Part 7, however, features the same themes but played in G minor and, in some sections, G harmonic minor.
Over the years, people have noticed that when I play certain runs, my fingers move in the opposite direction of the notes that they hear. For example, as my fret hand moves up the fretboard, the sequence of notes that is heard descends (and vice versa).
The run winds up in bar 5 with some unbroken alternate picking as I ascend the D Phrygian-dominant mode across the top four strings, leading to a high D note at the 10th fret, which I shake then slide down from. Notice that I add a couple of chromatic passing tones on the top two strings during this final ascent.
The majority of what I play during this section is built from sweep arpeggios of B minor triads (B D Fs) that shift through a variety of positions. There’s a lot happening in this little four-bar section, so let’s get to it. For this last section of the solo, illustrated in FIGURE 1, I’m playing over the same rhythm part that was illustrated in last month’s column.
This video is bonus content related to the May 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
This month, I’d like to delve deeper into concepts for expanding scalar ideas across the fretboard. As in the previous columns, I’ll demonstrate how to move diagonally across the fretboard to connect scale positions, an approach that I employ to a great extent to play melodic phrases and solos.
This month I’d like to talk about a song from our forthcoming album, which will most likely be out by the time you read this, called…well, I have no idea what it’ll be called. But since it’s out now (I mean, by the time you are reading this) you will know the title, because you have it.
This is a wide-stretch, legato string-skipping idea that’s based on a symmetrical fretboard shape that moves across the neck in a single position. It’s articulated entirely with fret-hand hammer-ons and pull-offs, and I use my pick hand as a string damper by reaching over behind the fret hand and grabbing the neck to mute the idle strings and prevent them from ringing.