The blues is a style of music that guitar players have explored extensively for more than a century, and will no doubt continue to explore, expand on and creatively reinvent forever. Though standard blues forms may seem simple, the greatest musicians in virtually every genre have been known to dedicate a great portion of their musical study on a further and deeper understanding of the blues in its many different incarnations. In this edition of In Deep, we’ll focus specifically on the eight-bar, as opposed to the more commonly used 12-bar, blues form.
My students often ask me how they can break away from typical root-fifth power-chord rhythm figures. My solution is to devise a variety of different two-note chord shapes—built from pairs of notes, like root-fifth power chords—that sound great when applied to metal, even though these chord shapes can be used in virtually every style of guitar-based music.
In the last installment of Guitar Strength, I showed you how to take a simple two-string fretboard shape and move it across three octaves in order to create long, fluid lines that traverse a wide range. This time, I’ll show you how to take the technique to the next level by combining “neighboring” shapes.
Tremolo is the technique of sustaining (actually rearticulating) a note with fast, controlled alternate picking (not to be confused with amp tremolo, which varies the volume). Tremolo originated as a way to maintain notes on acoustic stringed instruments beyond their natural decay time to emulate the long, sustaining notes of the human voice or a wind instrument. While the electric guitar offers other options for sustaining a note, tremolo picking a simple melody gives it a kinetic quality that can transform it into something energetic and memorable and create a virtual “wall of sound.”
The diminished 7th scale is a great way to maneuver around the the guitar, especially when you adapt three string arpeggios. The shapes you can create have a fantastic flow and make it easy to move up and down the neck freely.
Many of us know it is important to use arpeggios to outline chords in our licks, phrases, melody lines and solos. While we know learning arpeggios is important, we can become bored with our playing if we stick to using root-position, R-3-5-7 arpeggios to build our licks and melodies.
When writing riffs, one of the greatest challenges is to create parts that are not just melodically and rhythmically effective but also memorable and powerful. The best metal riffs—like “Crazy Train,” for example—contain all of the qualities necessary for a great riff: hard-driving power, strong melody and, most importantly, a “star quality” that makes the riff instantly recognizable. This is true for both fast and slow riffs, because a really great riff doesn’t have to be impressive exclusively in a technical sense. This month, I’d like to present a couple of riffs that I believe exemplify these qualities.
Welcome to String Theory, a new column dedicated to imparting guitar-centric music theory concepts in a practical, useful way that you can readily apply to composing and improvising. Rather than show you a bunch of dry, abstract textbook examples of how chords are built from and live within various scales, I will try to keep things interesting and inspiring by presenting etudes.