Thrash developed in the early Eighties as a subgenre of the broader heavy metal category and gained momentum throughout the decade. From the pioneering “Big Four” bands—Metallica, Megadeth, Slayer and Anthrax—to Exodus, Testament, Overkill and Sepultura, thrash metal pushed the boundaries of aggression, speed and stamina with fast, muted open-string-based riffs and furious lead breaks.
A major stepping stone in my musical development was when I was introduced to the study of modes. Learning how modes work really opened my eyes and ears and gave me a lot of insight into how melodies relate to chords.
"Jeff Buckley release only one full-length studio album in his lifetime, 1994's Grace," writes Dale Turner, "but in the 15 years since his passing on May 29, 1997, his influence endures, often cited as an inspiration by artist like Radiohead, Chris Cornell, Muse, Coldplay and a host of newer acts."
Hello there! Welcome to my first Guitar World column. I'm looking forward to sharing with you in these pages my thoughts on playing, equipment and the music business. Actually, this isn't the first time I've written a column — I used to do one many years ago for an English music magazine called Beat Instrumental. I did it for about eight months and it was great fun, and I'm sure this one will be too.
In part 4 we covered quarter-note triplets, 16th-note triplets and sextuplets and learned how to create tricked-out hemiola licks by taking a repeating note pattern and changing its rhythm so that the pattern begins, or "pops," on a different part of the beat each time it's repeated (rhythmic displacement). Now we're going to dive deeper into the rhythmic realm and explore a new subdivision, quintuplets-five evenly spaced notes per beat-and learn how to create psychedelic "nightmare" licks.
Well, gang, here it is: the final installment of Chopin's Piano Concerto in A minor, Opus No. 2. Those of you who have braved the storm of 16th notes over the past two columns have earned the right to pat yourselves on the back. You're going to get a bit of a reprieve this time, because, at the beginning of this section, Chopin restates the first six bars of the piece and then adds bars 15-17 of the opening section for good measure (use my column Romancing the Fretboard, Part 1 as a reference).
In the video below, Janus guitarist Mike Tyranski shows you how to play “In Flames,” a song off Janus' upcoming album, Nox Aeris, which will be released March 27 on REALID Records. Nox Aeriscan be pre-ordered from iTunes here.