For this lesson, I’ve put together a series of melodic riffs that could be used for a song’s intro, verse, chorus, bridge or solo section, and that utilize an open low E-string pedal tone. A pedal tone is defined as a long held or rearticulated note around which other parts move. As applied to the guitar, a pedal tone usually represents the tonic, or root note, and is played on the lower, often open, strings.
Vibrato technique is an essential aspect of guitar playing, and one that, unfortunately, many players often overlook or give insufficient attention to. Every great guitar player you can think of—Eddie Van Halen, Jimi Hendrix, Jeff Beck and Yngwie Malmsteen, to name but a few—has an array of powerful vibrato techniques that makes his playing spring to life with vitality, energy and emotion.
This month, I'd like to address an essential point of focus for every good metal player: how to best strengthen the pick-hand technique. The examples I'm going to show you cover a wide variety of pick-hand techniques, from using all downstrokes the alternate picking to economy picking and more, offering a systematic approach to building up these different techniques that will allow you to play with more expression, control and power.
Over the years, I’ve noticed that guitar playing is like a winter sport. During the summer, guitarists, like everyone else, divide their time between recreation, work and practice, but when the cold months arrive, they start playing guitar again in earnest. Unfortunately, after a long break, we often find that our skills aren’t quite where they need to be.
One of my favorite things about heavy metal music is the brutal rhythm guitar parts that have been devised by the genre's greatest bands, such as Megadeth, Metallica, Slayer and mothers. In this month's column, I'd like to show you some of the effective techniques for developing cool-sounding and very metal rhythm guitar parts.
Just a few days ago, I spent a week with 42 metalheads aged 10 to 19 at a destination Metal Camp at Camp Lakota in Wurtsboro, New York. It was a fantastic, positive experience on several levels, fueled by young energy, enthusiasm and "go get ‘em" attitude from the young rockers. Many of them wanted to make metal music their life. While I was there, I started to collect my thoughts the definitiuon of "success," and what it could mean to them as metal musicians.
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.
This month I'd like to talk about the art of combining different, complementary rhythm guitar parts to create powerful metal rhythm tracks. The sound of two guitars is the bedrock of heavy metal music.
While doing my metal guitar workshops one of the topics that I hear a lot about is the art of tackling the ability to play lead guitar. I often hear guitarists tell me that they want to know how they can begin to play a bit more lead in their band. They are interested in sharpening their skills, but they seem afraid and un-sure of how to dive in. Often they feel that there is an invisible wall stopping them. They just don’t know.