Last month, I discussed a few of the ways in which I like to utilize odd and mixed meters, as well as alternating between straight 4/4 time and odd meters, as compositional tools in writing music with Revocation.
A favorite compositional technique of mine in the songs I record and perform with Revocation is to incorporate the use of odd and shifting meters in the writing of primary riffs. Another cool approach I often take is to combine straight 4/4 time with odd meters to create some interesting and unique amalgamations.
Two techniques most rock lead guitarists are familiar with are sweep picking and fretboard tapping, both of which are often employed to perform arpeggios.
Sweeping, like strumming, involves quickly dragging the pick across several adjacent strings in a single downward or upward motion, except when sweeping you try to mute and silence each string with the fret hand immediately after picking it, as opposed to holding down a shape and allowing the notes to ring together like a chord.
Tapping entails using either a pick-hand fingertip or the edge of a pick to hammer-on a note on a single string at a specific fret. In this column, I’d like to demonstrate ways to combine the two techniques to create great sounding licks that can easily be moved around the fretboard.
Last month, I introduced the two different primary forms of the diminished scale, which I use as the basis for the riffs heard on the title track of the latest Revocation release, Deathless. This month, I’d like to go over the song’s pre-chorus and chorus sections.`
These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
These videos and audio files are bonus content related to the September 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
One of my prime objectives when writing music for my band Revocation is to try to push the envelope and come up with sounds, ideas, chord patterns, progressions and riffs that have been rarely explored within the thrash metal genre.
A good way to do this is to use seventh chords, which are rarely heard in metal. This month, I’d like to demonstrate a few cool ways one can use one particularly cool- and tense-sounding seventh chord in heavy, thrash-style riffs.