Players often will combine lots of different modes, etc., to their soloing. I do the same but with a different approach; I base everything around the pentatonic, so instead of playing modes, I simply add the notes to the pentatonic. This way, I always have that rock base behind the sound.
Many of us fall into the trap of practicing the same old stuff over and over again. This is why so many players find they hit a point where they don't get better. This has nothing to do with age or physical limitations; it's because they are not practicing or challenging themselves. They are doing nothing but maintaining.
In this Monster Lick, I'm incorporating the diminished 7th scale in the key of E minor. Don’t be fooled by the way I'm playing this lick. I'm targeting a heavy sound and style, but you can just as easily use this combination for blues or jazz. You should be able to hear these qualities in the lick when you watch the slow demonstration in the video below.
Today, GuitarWorld.com presents the premiere of "Now That You’re Gone"—the song and the music video—by guitarist and frequent Guitar World contributor Glenn Proudfoot. The song is from his new album, Ineffable, which is available now through glennproudfoot.com and iTunes.
This scale is one of my favorites to use in conjunction with the minor pentatonic in the relative key. It creates tonal space while giving your solos and runs a very intense element, which is essential for heavier styles of music. The techniques used in this lick are legato and tapping. The tapping approach isn't the normal or traditional approach to tapping.
Early last month, GuitarWorld.com posted the exclusive premiere of "Angel," a new song by guitarist and frequent Guitar World contributor Glenn Proudfoot. Today, we have the sequel, if you will! It's the official transcription of the song, courtesy of Proudfoot.
I use this particular variation of the scale a lot, especially when Im creating melodies that need to have a bit of "cheek" about them. This sound reminds me of something Steve Vai would use. The character Steve injects into his playing is genius, and this is a way (tonally) that I've found that helps me capture a bit of that.