Most power chord forms in rock and metal and comprised of either two or three notes, usually with the root note placed as the lowest note in the chord, joined with a note a fifth higher to create the two-note form, or with an additional root note on top to create a three-note-form. Equally effective are power chord forms built from fourths.
It was because of my experimenting with major scales and modes that I originally came up with the “Thumb Technique”; I was searching for ways to play descending arpeggio patterns while keeping an even flow and rhythmic pattern. What I eventually came up with is the pattern played in this lick.
More often than not, notes are picked, plucked, slapped, popped, tapped, slid in to, pulled off to or hammered-on to from another note. But there is another oft-overlooked technique that can add slippery finesse, intervallic interest and muscular, musically arousing power to your playing: the “hammer-on from nowhere."
In this Sick Lick, I'm using the Whole Tone Scale. You have to be careful with this scale when adapting it to rock, as tonally it is way outside what the listener would normally be used to -- so it's important not to get lost in this scale! Make sure you are always mindful of where you are on the neck and that you are thinking about what other scales you can switch in and out of if you start to get too far outside the tonal core.
New York City-based metal band God Forbid recently posted an in-depth video lesson featuring a camera on Doc Coyle, John Outcalt and Matt Wicklund all at once showing you how to play "Overcome." Check it out below!
ii-Vs are some of the most commonly used and important chords in the jazz repertoire. It’s a progression you’ll see often as a jazz guitarist, so being able to confidently solo over these chords is an essential skill. When first learning to blow over these chords, we often start with the Dorian and Mixolydian modes over each chord, respectively.
Guitarists who improvise in any style-rock, blues, country, bluegrass, jazz, metal-have to have an arsenal of hot licks to draw upon. Little tricks which, played at just the right moment, can elevate the music to another level and blast an audience right out of their seats. All of my favorite players have their own signature licks that kill me every time I hear them. This is what inspired me to take up the guitar in the first place.
In this lesson, we will go over two unique voicings of tapped arpeggios that, once mastered, will open other creative doorways for you to expand upon this approach and apply it to other avenues of your playing. These arpeggios are demonstrated here in groupings of four. Like most of my licks that require unassisted hammer-ons, a string dampener would be recommended here.