Next up is a B fully diminished seventh (over E7b9) with notes from the B half-whole scale thrown in for some percussive and melodic flavor. Finally, I end on what I would barely call an altered E dominant seventh, over which I actually play an A whole-half scale, before finally ending the entire thing on E.
There are only a handful of individuals who have pioneered the way music is played on the guitar, yet you would need more than both of your hands to count the number who follow in their footsteps. In fact, it may even become common practice to do so. Let’s take the classic model provided by Jimi Hendrix. The man undisputedly wrote the book on modern guitar playing, and we’d all be lying if we denied taking a page out of Jimi’s book every time we wrote a riff or lick.
One aspect I’ve noticed many players overlook in their quest for “ultimate shred-dom” is the ability to control their instrument. I’m all about blazing through scales and sweeping like hell, but a gratuitous display of such can compromise the melodic development of a line. And when we’re programmed to simply run up and down patterns while taking a solo, our lack of control can get the better of us when we run into speed bumps (pun -- sort of intended).