When soloing, I try to use a balanced mix of scales, intervals and arpeggios. Something I always struggle with is trying to incorporate arpeggios into my solos without having them sound too generic. A lot of the common arpeggio shapes are difficult to use without sounding "cliche" or like a bad Yngwie Malmsteen clone.
I cannot describe the audience reaction as the entire venue shook with a deep growl. With that single move, Blackmore reminded everyone that he was still the rock guitar god he's always been. As the song ended, I couldn't help but notice the man next to me was crying. I was also relieved that my friend got the moment on film!
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.
For everyone who has followed me throughout this series, I hope you found it rewarding and challenging. Hopefully this piece has helped you improve as a player in terms of technique and theory. When I began learning the piece, I was looking for something easier technique-wise than my previous Paganini series.
We are very close to the end, and — for everyone who has followed me with this series — I hope you've found it useful. For this lesson, much like with Part 7, we're going to play something that follows a previous section (in this case, from Part 4) but within a different relative key.
Part 7 is very interesting because it relates very closely to Part 3. This new section follows the same themes within Part 3, but in a different relative key. Part 3 was based around Bb major, which is the relative major scale of G minor. Part 7, however, features the same themes but played in G minor and, in some sections, G harmonic minor.
Welcome to part 6 of "Learning Mozart's 25th Symphony in G Minor." We are getting close to finishing this piece, which might sound surprising considering we have only learned four minutes out of the full 10-minute piece. However, don't worry, because there's going to be a lot of repetition between now and the end.
Recently, I've been experimenting with five-note patterns, or quintuplets. A quintuplet is when you fit five notes where usually you'd fit four. For example, you can fit 20 16th-note quintuplets in a normal bar where you'd play five evenly spaced notes for each beat. These rhythms can be challenging, so I wanted to give you some simple exercises and licks that will help you develop a "feel" for them.
As a rock/metal guitarist, I am continuously working on writing better guitar riffs. From my perspective, the guitar riff has suffered in modern music in terms of creativity and usage. A good, creative riff is the most important ingredient when writing any rock/metal song. Here are a few tips that might help you write better riffs.
I've been rediscovering pentatonic patterns lately. While searching for new licks and scales to incorporate into my playing, I occasionally like to re-examine pentatonic shapes. In this lesson, I want to give you some tips on how to construct your own ascending and descending pentatonic patterns. To begin, we must make a pattern of notes from the pentatonic scale.