Fretboard tapping has earned a bad name in certain sectors of the guitar community. Some players dismiss it as a technique suitable only for perpetrating the worst possible kind of overblown, unmusical histrionics, preferably played through a wall of amps that “go to 11.”
When working on writing melodies for my original compositions, my standard approach is to examine the chord progression in order to determine which scales or modes would best apply. A mode is the notes of scale, such as the major scale, oriented around a different root note and chord; Modes offer great flexibility in terms of the way they relate to a set of chords within relative keys.
Kirk Hammett is wired and tired. It’s evening in Los Angeles, and in approximately one hour, Metallica will hit the stage of the Wiltern Theater to raise money for the Silverlake Conservatory of Music, a nonprofit music school for low-income students. While Hammett is psyched to be playing for this great cause, there is no denying that, at the moment, he’s draggin’ ass.
With his black work shirt, black jeans and big, black motorcycle boots, James Hetfield looks a little like a garage mechanic working the graveyard shift at a funeral home. His thoughts, like his outfit, are dark.