Here's a technique I use that helps me groove with an electronic four-to-the-floor dance groove. It's also is reminiscent of the "arpeggiator" plug-ins you hear in modern dance music, electronic music and even modern pop music like Pink, 30 Seconds to Mars, Lady Gaga and other well-known artists.
This time around, I’d like to share a trick based around a deceptively easy-to-play, simple concept that will add some sophistication to your improvisations (while also being sure to turn heads with its attention-grabbing coolness!): open-voiced, string-skipping 7th arpeggios.
In the following video, Michigan's Pop Evil show you how to play one of the hit singles off their latest album, War of Angesl, titled "Monster You Made." The track is tuned a half step down with the low E string dropped to C#.
Roadrunner Germany just posted the following video, in which Lamb of God guitarist Mark Morton demonstrates some of the key riffs from the band's new album, Resolution. Scroll down to learn how to play the intro riff to "Desolation," the main riff to "Ghost Walking" and more.
In this lesson, I will demonstrate an interesting method of utilizing your index finger on your picking hand, which is traditionally used for two-handed tapping. The tablature shows a descending legato run in the key of A natural minor comprised of groupings of eight notes. There are no picked notes whatsoever here, just unassisted hammer-ons and pull-offs.
In this month's "Hole Notes," Musician's Institute instructor Dale Turned takes a look at artistry of guitar great and inventor of "gypsy jazz," Django Reinhardt. Because his famed quintet, Hot Club of France, didn't have a percussionist, the rhythmic patterns and chord choices in Django's unique brand of jazz were of paramount importance.
This month's "Metal For Life" shows you how to utilize a metal approach when playing classical-style themes. Classical music -- being used as an umbrella term to cover the Classical, Romantic and Baroque periods -- has been a major influence on heavy metal, particularly after the arrival of the "neoclassical shred" movement in the '80s.
Here's an easy way to pull off some very fast and exotic arpeggios without even breaking a sweat. My entire approach to playing has always been making things easy, and I love licks that sound way harder than they really are. I like to think of it as working smarter, not harder.