I tap with my middle finger and begin this lick by flicking the string with the finger to get the sound going, doing a "phantom" pull-off to the A note at the fifth fret. I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere."
This riff-writing exercise will demonstrate how to create diatonic and borrowed chords based on a chromatic bass line while staying in key. For this example, I’m going to use the key of A minor and the harmonic minor scale as my guide for chord construction.
Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet.
This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.
In this lesson I discuss a few options I use when playing over dominant 7 chords. I’ll take you through a methodical process of using scales that progressively use more and more dissonant notes. It will be this intermingling of consonant and dissonant sounds that will add a lot of interesting elements to your playing and give your solos the contrast that will keep your audience listening.
As you’ve probably already heard, we have a new guitarist, Chris Broderick [Nevermore, Jag Panzer]. Chris is heavily influenced by Marty Friedman, which is great, because Megadeth play more music from that era of the band than any other and I’ve always liked that particular style.
Many of us fall into the trap of practicing the same old stuff over and over again. This is why so many players find they hit a point where they don't get better. This has nothing to do with age or physical limitations; it's because they are not practicing or challenging themselves. They are doing nothing but maintaining.
When you're recording, you can use all kinds of exotic instruments for embellishing sections of a song. But you probably would like to be able to recreate your recorded performance live. It would be cool to be playing something on a six-string and have certain notes of the melody jump out with a 12-string sound and attack.