Lessons http://www.guitarworld.com/taxonomy/term/8/all en Metal for Life with Metal Mike: How to Reinvent the Penatonic Approach to Forge New Melodic Riffs — Video http://www.guitarworld.com/metal-life-metal-mike-how-reinvent-penatonic-approach-forge-new-melodic-riffs <!--paging_filter--><p>By far the most prominently used scale and the most prevalent sound in rock, metal and blues is that of the minor pentatonic scale. </p> <p>The series of intervals that comprises the minor pentatonic scale—1 (root), b3 (flatted third, 4, 5 b7 (flatted seventh)—is the structure upon which so many classic rock and metal riffs have been based since rock and roll’s earliest days. </p> <p>The musical strength of the scale lies in its simplicity, making it a perfect formula from which to try to discover interesting and new musical paths. </p> <p>Whether I’m trying to write new riffs for songs or composing a guitar solo, it’s always fun and challenging to build new phrases based on minor pentatonic. And you don’t necessarily have to rack your brain; sometimes the most straightforward approach is best. </p> <p>For example, in <strong>FIGURE 1</strong>, I use the notes of the B minor pentatonic scale—B D E F# A—to ascend in pairs of four-note groups: I begin on the low B root note on the sixth string and ascend through the first four notes on the scale, B D E F#, and then shift up a few frets and do the same thing starting on the next scale degree, the minor third, D, and play the notes D E F# A. In bar 2 I repeat the entire eight-note pattern an octave higher on the middle two strings, and then up another octave in bar 3, on the top two strings. </p> <p>The interesting thing that happens with this pattern is you begin with a four-note climb followed by three eight-note climbs, which creates an interesting and somewhat predictable melodic contour. In <strong>FIGURE 2</strong>, I play the same phrase but ramp up the tempo so that it’s executed in straight 16th notes. Once you have the pattern down, try playing it in other keys and areas of the fretboard.</p> <p>Let’s now take this repeating-pattern approach and apply it to a fretboard-tapping run. In <strong>FIGURE 3</strong>, I begin with taps and pull-off riffs that fall on the top two strings, starting on the high E and moving over to the B: after the initial 12th-fret tap, I pull off to my fret-hand index finger at the seventh fret. Each tap and pull-off is repeated before moving down to the next lower string. </p> <p>The approach used for this run is more about visual fretboard symmetry than staying within the structure of any particular scale. After toggling between the 12th and seventh frets for the first two shapes, I move over to the G and D strings and alternate between the ninth and fifth frets in the same manner. The run concludes on the bottom two strings by moving between the seventh and third frets, and then the fifth and second frets on the sixth string before a final pull-off to the open low E.</p> <p>Another great way to permutate from a basic minor pentatonic idea is to simply move its shape to different strings. <strong>FIGURE 4</strong> offers a common metal-type soloing phrase played on the top two strings. In <strong>FIGURE 5</strong>, I take the same shape and move it to the B and G strings, which results in the inclusion of the flatted fifth, Bb. </p> <p>This is a great, twisted sound, one used to great effect by players like Dave Mustaine, Alexi Laiho and Dimebag Darrell. A simple alteration in the sequence of notes results in <strong>FIGURES 6</strong> and <strong>7</strong>, wherein the lick is reconfigured in 5/4 meter. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/RpWQbnaMmAE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/metal%20mike.jpg" width="620" height="703" alt="metal mike.jpg" /></p> http://www.guitarworld.com/metal-life-metal-mike-how-reinvent-penatonic-approach-forge-new-melodic-riffs#comments July 2015 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Wed, 03 Jun 2015 15:01:23 +0000 Metal Mike Chlasciak 24521 at http://www.guitarworld.com Turn Up the Heat in Your Solos in Five Easy Steps http://www.guitarworld.com/turn-heat-your-solos-five-easy-steps <!--paging_filter--><p>Variety is the spice of life. Musically speaking, I think “spice” translates to a certain amount of dissonance. Dissonance is a tension resulting from the lack of harmony among musical notes.</p> <p>In this lesson I discuss a few options I use when playing over dominant 7 chords. I’ll take you through a methodical process of using scales that progressively use more and more dissonant notes. It will be this intermingling of consonant and dissonant sounds that will add a lot of interesting elements to your playing and give your solos the contrast that will keep your audience listening.</p> <p>So you can immediately implement these ideas, I’ll be using only some basic pentatonic and blues scales that you likely already know, as well as a couple of ideas that might not yet be a part of your vocabulary. We’ll use A7 as our key center in these examples.</p> <p>Note: I highly recommend you find a backing track with a dominant 7th key center to practice these ideas over. This will surely help you internalize how these scales sound and contrast with each other in a musical context. YouTube has a bunch!</p> <p>An A7 chord is best described as an A major triad with a minor 7th. This chord is spelled A-C#-E-G. Overall, its tonality is major, but the minor 7th note in the chord lends itself to some minor approaches as well. Let's dig in …</p> <p>The A major pentatonic scale could be considered the most consonant match for this chord, as the scale includes the A major triad. While a little vanilla for some, it works perfectly.</p> <p>To add a just a little dissonance, the A major blues scale can be used. This scale includes all the “right notes” from the major pentatonic scale but adds a minor 3rd to the mix. This minor 3rd doesn’t stand out too much when played briefly as a passing tone, but if you place some focus on it, it will surely grab the listener’s attention before you resolve it to the next note in the scale. With a jam track, try switching from the major pentatonic scale and the major blues scale.</p> <p>It’s this minor 3rd note that leads us to a very common combo: using the minor pentatonic scale over the dominant 7 chord. The minor pentatonic scale includes the root, 5th and minor 7th of the dominant 7 chord we’re playing over, but the minor 3rd is dissonant when heard against the major 3rd in the chord. It is this dissonance that often leads us to bend the minor third up to the major third pitch, giving us that oh-so bluesy sound we love. </p> <p>I often think of players like Jimmy Page and Jimi Hendrix when I hear this being played, but since the minor pentatonic scale is one of the first scales guitar students learn, chances are you are already doing this. With a jam track, try switching from the major pentatonic to the major blues — and now the minor pentatonic scale — and back.</p> <p>If we want to "up" the amount of dissonance even more, we can start to play the minor blues scale over this chord. Not only do we now have that dissonant minor 3rd from the minor pentatonic scale, but now we also have the tritone to bend the listener’s ears even more. If you simply treat the tritone as a passing tone, it may not be too noticeable, but if you focus on that note, you’ll really start getting the listener’s ears to perk up! With a jam track, try switching from the major pentatonic, to the major blues, minor pentatonic, minor blues and back.</p> <p>As if this wasn’t enough to mix things up and make your solos more interesting, I also like to include a couple more ideas to achieve that “outside sound” in my solos. The first is what I like to call the “Flatted Root Minor Pentatonic Scale." This scale simply flattens the root (A) in the A minor pentatonic scale. This scale is spelled Ab-C-D-E-G. If there was ever a note to alter to create bit of dissonance, it’s the root! Watch as audience members look up from their smartphones when you lay this scale’s sound on them. </p> <p>Another easy technique for getting a dissonant “outside” sound is to simply move the minor pentatonic scale up a half step for a brief moment. This side-stepping technique works well during scale runs, just move up one fret half way through your phrase and enjoy the dissonance. Just remember to move back into key, as a little bit of this ‘spice’ goes a long way. </p> <p>These six sounds should give you plenty of ways to turn the heat up in your solos. Just like cooking with spices, you can dial in a little or a lot according to your taste. I like to rank the scales like my favorite chicken wings:</p> <p><strong>Major Pentatonic:</strong> Mild<br /> <strong>Major Blues:</strong> Sweet 'n’ Spicy<br /> <strong>Minor Pentatonic:</strong> Medium<br /> <strong>Minor Blues:</strong> Hot<br /> <strong>Flatted Root Minor Pentatonic:</strong> Wild<br /> <strong>Side-Step Minor Pentatonic:</strong> Blazing!</p> <p>Jam these scales to a play-along track, mixing them up in a variety of ways. Change it up incrementally for some tasty licks, or implement big contrasts for some really bold flavors.</p> <p><img src="/files/imce-images/Galysh%20Lesson%20Ex.%201.jpg" width="620" height="462" alt="Galysh Lesson Ex. 1.jpg" /></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/V80oPY2lcHY" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitarist Adrian Galysh is a solo artist and education coordinator for Guitar Center Studios. He's the author of the book </em>Progressive Guitar Warmups and Exercises<em>. For more information, visit him at <a href="http://www.adriangalysh.com/">AdrianGalysh.com.</a></em></p> <p><strong><a href="http://adriangalysh.com/download.html">GuitarWorld.com online readers can enjoy a FREE download of Adrian Galysh's song "Spring (The Return)" by clicking HERE.</a></strong></p> http://www.guitarworld.com/turn-heat-your-solos-five-easy-steps#comments Adrian Galysh Videos Blogs Lessons Tue, 02 Jun 2015 20:09:00 +0000 Adrian Galysh 22852 at http://www.guitarworld.com Harmonic Minor and Beyond: Killer Scales for Modern Heavy Metal Guitar http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing <!--paging_filter--><p>For this column, I've responded to a great question from a reader — Zachary in Houston, Texas.</p> <p><em>"Dave: What is your favorite scale to use when playing heavy metal?"</em></p> <p>Thanks for the question! Harmonic minor is always a very cool choice and a favorite of mine. It’s great to use when you’re improvising or coming up with song ideas and lead parts. </p> <p>So many impressive players have made great use of it in their songs—guys like Uli Jon Roth, Yngwie Malmsteen, Ritchie Blackmore, Steve Vai and many others. Mozart also was a big fan.</p> <p>If you want to hear how I use it, check out my song “Devils Roadmap” below: </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/t1nDO69kLxY" frameborder="0" allowfullscreen></iframe></p> <p>Listen to my guitar solo from 3:22 to 3:40 to hear the scale in action. It’s a fun scale; you can map out crazy three-note-per-string runs all across the fretboard.</p> <p>I also like the pentatonic scale. Pentatonic is huge in metal for a reason: It sounds good in so many situations. Zakk Wylde, Frank Marino and Dave Mustaine are amazing players who have used it to great effect over the decades.</p> <p>• <strong>Pentatonic Scale</strong> (1, b3, 4, 5, b7). For example, in the key of E, that would be E, G, A, B, D.</p> <p>My solo on “I Just Don’t Want to Say Goodbye” is a favorite of mine, and I basically stick to straight-up minor pentatonic. The solo is from 3:26 to 4:37:</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ObL-XYTdy24" frameborder="0" allowfullscreen></iframe></p> <p>Even though I'm a trained musician, I'm still very much a self-taught player in my heart and mind and in the way I think and approach things. </p> <p>I use the approach of just going for it and seeing what happens when I play leads and improvise. Knowledge is great as a guide, but when I’m writing, I just go for it. Usually, my best stuff happens when I'm not over-thinking it.</p> <p>I come from the Marty Friedman school of thought when it comes to scales. Marty had a great instructional DVD out where he talked about how players can get caught up thinking that they need to know tons of scales. He goes on to say you can just make up your own scales.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/uSaTAGsIBEI" frameborder="0" allowfullscreen></iframe></p> <p>I teach my students to think in this freethinking style. For example, take the simple pentatonic scale and improvise over a riff or chord progression and throw in any chromatic passing tones you like. Practice this approach and see what sounds cool to your ears!</p> <p>The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's <em>Rust In Peace.</em> He is throwing in all kinds of exotic scales and interesting note choices all over the place. </p> <p>Below, check out some great scales to add into your arsenal when you're trying to write. I’ll put these in the key of E to keep it easy, but you can move these to any key.</p> <p>• <strong>Harmonic Minor</strong> (1, 2, b3, 4, 5 b6, 7) or (E, F#, G, A, B, C, D#). Like I said, Yngwie Malmsteen and Uli Jon Roth love this scale, but you can hear it from Michael Schenker, Ritchie Blackmore and many others.</p> <p>• <strong>Phrygian Dominant</strong> (1, b2, 3, 4, 5, b6, b7) or (E, F, G#, A, B, C, D). This scale is simply the 5th mode of the harmonic minor scale. If you listen to Iron Maiden’s “Powerslave” you can hear this scale in action: </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0NYiOHGapRk" frameborder="0" allowfullscreen></iframe></p> <p>Al Di Meola’s “Egyptian Danza” is another great example of this scale in action. Notice a theme? This scale gets a very Egyptian-type sound! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XrO29hsWgto" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Gypsy Scale</strong> (1, b2, 3, 4, 5, b6, 7) or (E, F, G#, A, B, C, D#). This scale is the same as Phrygian dominant except for the natural 7, which this scale has. Any time you are improvising over a chord progression that has major chords that are a half step apart, this scale (as well as the Phrygian dominant) is a good choice. The Gypsy scale is cool to use when you're going for that whole snake-charming, exotic, "magic carpet ride" sound. Blackmore captured it very well on many tunes. “Gates of Babylon” by the Ronnie James Dio-fronted Rainbow is a good example.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qu8HiZepRWo" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Hungarian Minor</strong> (1, 2, b3, #4, 5, b6, 7) or (E, F#, G, A#, B, C, D#). This is a cool-sounding scale. This works well over a minor (major 7) chord. The Hungarian gypsy minor and harmonic minor scales are used on Chris Broderick’s solo on Megadeth's “Head Crusher” from 2:58 to 3:24.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XurU3TPHjzY" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Persian</strong> (1, b2, 3, 4, b5, b6, 7) or (E, F, G#, A, Bb, C, D#). This scale is cool and has that whole dark Middle Eastern feel to it. It’s got the flat 5 or “tri-tone” in there, which is always great for metal. That’s the interval that Marilyn Manson used on “The Beautiful People” or that Black Sabbath used on one of my all-time favorite songs, “Symptom of the Universe." You can get some crazy-sounding metal riffs out of this scale. It also works well for soloing over a (maj 7 #11) chord.</p> <p>• <strong>Japanese Scale</strong> (1, b2, 4, 5, b6) or (E, F, A, B, C). Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation. </p> <p>• <strong>Chinese Scale</strong> (1, 2, 3, 5, 6) or (E, F#, G#, B, C#) In the Western world, we know this scale by its other name: major pentatonic. Bands like the Allman Brothers really dig its sound and use it quite a bit, as well as bluesmen like B.B. King.</p> <p>Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard. I will put these in C to keep things easy.</p> <p>• Ionian (Major Scale) (1, 2, 3, 4, 5, 6, 7) or (C, D, E, F, G, A, B)<br /> • Dorian (1, 2, b3, 4, 5, 6, b7) or (D, E, F, G, A, B, C)<br /> • Phrygian (1, b2, b3, 4, 5, b6, b7) or (E, F, G, A, B, C, D)<br /> • Lydian (1, 2, 3, #4, 5, 6, 7) or (F, G, A, B, C, D, E)<br /> • Mixolydian (1, 2, 3, 4, 5, 6, b7) or (G, A, B, C, D, E, F)<br /> • Aeolian (Minor Scale) (1, 2, b3, 4, 5, b6, b7) or (A, B, C, D, E, F, G)<br /> • Locrian (1, b2, b3, 4, b5, b6, b7) or (B, C, D, E, F, G, A)</p> <p>Here's a cool trick someone showed me to help remember what order these modes go in: “I Don’t Punch Like Muhammad A Li.”</p> <p>I= Ionian<br /> Don’t= Dorian<br /> Punch= Phrygian<br /> Like= Lydian<br /> Muhammad= Mixolydian<br /> A= Aeolian<br /> Li= Locrian.</p> <p><em><a href="http://en.wikipedia.org/wiki/Dave_Reffett">Dave Reffett</a> is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like the Rolling Stones, Janet Jackson, Korn and Meat Loaf.</em></p> <p><em>Dave Reffett headshot photo by Yolanda Sutherland</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing#comments Dave Reffett Blogs Features Lessons Mon, 01 Jun 2015 14:18:01 +0000 Dave Reffett 12389 at http://www.guitarworld.com Full Shred with Marty Friedman: Using String-Bending and Vibrato to Personalize a Melody http://www.guitarworld.com/full-shred-marty-friedman-using-string-bending-and-vibrato-personalize-melody <!--paging_filter--><p>Two of the most essential techniques for all aspiring guitarists to master are string bending and vibrato. </p> <p> The electric guitar affords us the opportunity to express musical statements that can evoke and rival the sound and qualities of the human voice, with string-bending and vibrato techniques as the primary elements necessary to achieve vocal-like sounds and phrasing. </p> <p> In this column, I’d like to detail a few of the string-bending and vibrato techniques I use and the applications that appeal to me the most. </p> <p> You can bend a string in many ways, and I like to employ just about every method imaginable. Drawing from a variety of string-bending techniques provides me with more options for how to interpret whatever I’m playing. </p> <p> Let’s begin with a simple melody, and I’ll then demonstrate a handful of ways I might interpret it. <strong>FIGURE 1</strong> illustrates a very simple three-note phrase in A minor, comprising the notes E (the fifth) and G (the flatted seventh) and ending with a bend from G up one whole step, to the A root note. A common approach many guitarists take is to employ a unison bend for each note, as demonstrated in <strong>FIGURE 2</strong>. </p> <p> While one note is fretted with the index finger on the B string, another is fretted with the ring finger two frets higher, on the G string, and that note is then bent up a whole step to match the pitch of the B-string note. </p> <p> If you ever hear me play this unison bend lick, please shoot me. We just don’t need another guitar player playing that way anymore. But if you like it, you should play that way; just don’t let me play that way. <strong>FIGURE 3</strong> shows one of the many “Marty-style” options available when playing these three notes. Instead of simply fretting the first note, I place the index finger one fret lower and bend up to it from a half step below, from D# to E, then apply vibrato to the note. I then slide up to the G and execute half-step bends (and releases) between G# and A. It’s a nice alternative to simply fretting the note. </p> <p> I then move up to B and bending up a half step, to C, and then I release the bend and perform a series of quick hammer-pulls between A and G# on the B string.</p> <p> There are so many variations one could apply from here, and I’ve detailed a handful in <strong>FIGURES 4–8</strong>. I encourage you to use your musical ear and listen for variations and options that you find interesting.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6bfL6aBhnwg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-10-06%20at%201.22.07%20PM.png" width="620" height="608" alt="Screen Shot 2014-10-06 at 1.22.07 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-10-06%20at%201.22.23%20PM.png" width="620" height="361" alt="Screen Shot 2014-10-06 at 1.22.23 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-using-string-bending-and-vibrato-personalize-melody#comments Full Shred Marty Friedman October 2014 Artist Lessons Videos Blogs News Lessons Magazine Fri, 29 May 2015 15:39:55 +0000 Marty Friedman 22105 at http://www.guitarworld.com Wild Stringdom with John Petrucci: Using Triad Arpeggios to Imply More Complex Chord Qualities http://www.guitarworld.com/wild-stringdom-john-petrucci-using-triad-arpeggios-imply-more-complex-chord-qualities <!--paging_filter--><p>This month, I’m going to demonstrate how one can utilize simple triadic shapes and patterns in order to imply more complex and varied chord qualities. </p> <p>I find this to be a very cool and useful improvisational tool, because you can apply it to playing over either a chord progression that you want to outline melodically or over a static pedal tone or one-chord vamp over which you want to superimpose shifting harmonic colors.</p> <p> Let’s begin by outlining, and then combining, simple major and minor triads. <strong>FIGURES 1 and 2</strong> illustrate the notes of a G major triad—G B D—played in seventh position. The relative minor triad of G major is E minor, and <strong>FIGURE 3</strong> depicts an E minor triad played in the same position. Notice that both triads share two of the same notes, G and B.</p> <p> The “magic” happens when we combine these two triads, and we can utilize and analyze the resulting sound within either a G major or an E minor context. <strong>FIGURE 4</strong> shows the two triads combined, so in essence we’ve simply added the E note to the G major triad. </p> <p>Adding E, the sixth of G, implies the sound of a G6 chord. If we play the same pattern over an E minor tonality, the resultant chordal implication is Em7, as shown in <strong>FIGURE 5</strong>, and the single-note triadic-based phrases evoke a different harmonic impression.</p> <p> Let’s now apply this approach to a different tonal center. As shown in <strong>FIGURES 6 and 7</strong>, the combination of the notes of a C major triad—C E G—and an A minor triad—A C E—result in either a C6 sound, as shown in <strong>FIGURE 6</strong>, or an Am7 sound, as shown in <strong>FIGURE 7</strong>. The beauty of this exercise is that it demonstrates how the study of one theoretical concept and its associated single-note patterns can easily be applied to more than one tonal environment. </p> <p>On a grand scale, this means that the study of one idea can be applied to many different harmonic environments, yielding a broader understanding of music theory as well as heightening one’s fretboard awareness. </p> <p>Another great way to use this concept is to combine two different triads that are found within the same tonal center. For example, within the G major scale (G A B C D E F#), one can build a series of seven different triads by starting from each note in the scale and adding thirds above the starting note while remaining diatonic to (within the scale structure of) G major. If we start from B, the third degree of the G major scale, a B minor triad is formed by playing B D F#, notes that<br /> are all thirds apart, as they occur within the G major. </p> <p><strong>FIGURE 8</strong> illustrates a phrase that combines G major and B minor triads. We can then apply this approach to the relative minor of G, Em7, as shown in <strong>FIGURE 9</strong>. When looked at as a whole, combining G major and B minor triads implies a Gmaj13 chord, as shown in <strong>FIGURE 10.</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/X6LFTobJ7F4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-24%20at%202.49.42%20PM.png" width="620" height="677" alt="Screen Shot 2014-04-24 at 2.49.42 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-24%20at%202.50.00%20PM.png" width="620" height="200" alt="Screen Shot 2014-04-24 at 2.50.00 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-using-triad-arpeggios-imply-more-complex-chord-qualities#comments Dream Theater John Petrucci March 2014 Wild Stringdom Artist Lessons Blogs News Lessons Magazine Fri, 29 May 2015 15:31:00 +0000 John Petrucci 20319 at http://www.guitarworld.com Guitar Chalk Sessions: Adding Dynamic Appeal to Your Power Chords with Intervals and Dyads http://www.guitarworld.com/guitar-chalk-sessions-adding-dynamic-appeal-your-power-chords-intervals-and-dyads <!--paging_filter--><p>Power chords, once your fingers are comfortable with the stretching, are <a href="http://www.guitarchalk.com/2014/09/guitar-chords-for-beginners-infographic-cheat-sheet.html">mind-numbingly simple</a>. </p> <p>That's not a bad thing and I wouldn't say that power chords are "cheap" or "too easy."</p> <p>That's dumb.</p> <p>Because they get the job done, right? So why wouldn't we use them? They’re functional and adequate to the task.</p> <p>In the right context, power chords are a beautiful thing. When music demands a <a href="https://www.youtube.com/watch?v=gGQUlaCYg7k">heavy, smooth and easy-to-digest chord progression</a> (like in modern rock, pop, metal, etc.), a root note, a consonant interval (perfect fifth) and perhaps an octave thrown in for good measure, are all you really need.</p> <p>We can play as many chords as we want all using the same shape; just shift frets or strings.</p> <p>But what if we wanted to dress things up a little bit? What if we wanted to make our power chords more dynamic and <a href="http://www.guitarchalk.com/2014/08/how-creating-melody-sets-you-apart-as-guitar-player.html">melodic?</a></p> <p>Adding some flavor and variety to your power chord progressions can really take your playing up a notch and set you apart. It's an especially handy technique for those who fill the role of both a lead and rhythm guitar player.</p> <p>There are two primary techniques you can use to do it; intervals and dyads. Let’s cover intervals first.</p> <p><strong>First Technique: Add Major or Minor Intervals</strong></p> <p>Assume you're lucky enough to be playing a chord progression that is entirely in a major key. Even better, let's just say you're going from D to A. Tabbing it out would look like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.14%20PM.png" width="99" height="120" alt="Screen Shot 2014-12-06 at 3.49.14 PM.png" /></p> <p>What if you wanted to add some melody or even just variety? We can use major intervals to do so, since we're theoretically dealing with two major chords. So where do we put these intervals?</p> <p>You'll need to target areas where you have long pauses or holds on a single chord. So in this situation, we can assume (for illustrative purposes) that the D chord gets held for a short few beats, while the A chord is held longer.</p> <p>That means the A chord is where we can move a bit more and add some creative intervals.</p> <p>Use the open A note to play your second A chord (bracketed).</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.20%20PM.png" width="101" height="118" alt="Screen Shot 2014-12-06 at 3.49.20 PM.png" /></p> <p>We can now start adding intervals to our A chord. Here are a few options:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.29%20PM.png" width="223" height="261" alt="Screen Shot 2014-12-06 at 3.49.29 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.37%20PM.png" width="256" height="121" alt="Screen Shot 2014-12-06 at 3.49.37 PM.png" /></p> <p>It's a simple, but effective, strategy.</p> <p>You can employ the same interval shifts with any other power chord. Say we don't have an open chord to work with, like in the case of this G:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.45%20PM.png" width="70" height="116" alt="Screen Shot 2014-12-06 at 3.49.45 PM.png" /></p> <p>We can still add intervals by shifting the note at the fifth fret, currently a perfect fifth, in relation to the root note at the third fret.</p> <p>Here's what I came up with.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.51%20PM.png" width="365" height="118" alt="Screen Shot 2014-12-06 at 3.49.51 PM.png" /></p> <p>As you can see, the only note that needs to change is the interval of the root. The root note itself doesn't move.</p> <p>That means you can use this tactic as often as you want within any power chord in any given progression.</p> <p>If the progression contains minor chords, you'll have to make sure to hit notes that resolve to a minor tune. But that will come with habit, muscle memory and time.</p> <p><strong>Second Technique: Add Octave Dyads</strong></p> <p>A second strategy is to use <a href="http://www.guitarchalk.com/2014/09/learning-simple-guitar-chords-using-dyads-triads.html">simple, two-note dyads</a> to add short melodies over power chords. This has become a widely used technique in the post-grunge era and has been typified by many modern guitarists.</p> <p>To illustrate this example, I find it best to start with an open D chord in drop-D, like the following tab:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.49.58%20PM.png" width="71" height="119" alt="Screen Shot 2014-12-06 at 3.49.58 PM.png" /></p> <p>Start with your D root note on the second string (fifth fret), add its corresponding octave (third string, seventh fret) and reapply some of the intervals we already covered by simply moving the octave shape up the fretboard.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.06%20PM.png" width="196" height="119" alt="Screen Shot 2014-12-06 at 3.50.06 PM.png" /></p> <p>We can apply the same principle with the G chord as our base and the 2-3-5 fret climb is our melody.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.17%20PM.png" width="154" height="121" alt="Screen Shot 2014-12-06 at 3.50.17 PM.png" /></p> <p>Once you get comfortable, start planting these runs in between chords. Like this:</p> <p><img src="/files/imce-images/Screen%20Shot%202014-12-06%20at%203.50.23%20PM.png" width="349" height="121" alt="Screen Shot 2014-12-06 at 3.50.23 PM.png" /></p> <p>Not only does this break the monotony of a chord progression, but it adds some melodic flavor to what is otherwise a one-dimensional and linear sound.</p> <p>Because sometimes a guitar player needs to handle both rhythm and lead, especially today when many groups employ only one guitarist. Being able to play heavy, while also having enough skill and musical awareness to add melody and variety to your chord progressions makes you a far more valuable musician.</p> <p>And while they aren't all you need to accomplish that, dyadic octaves and intervals can give you a lot of mileage as they're excellent tools to work with.</p> <p>If you play a lot of power chords you shouldn’t feel bad about it.</p> <p>Just learn how to make them count.</p> <p><em>Flickr Commons Image Courtesy of <a href="https://www.flickr.com/photos/maurymccown/">maury.mccown</a></em></p> <p><em>Robert Kittleberger is the founder and editor of <a href="http://www.guitarchalk.com">Guitar Chalk</a> and <a href="http://www.guitarbargain.net">Guitar Bargain</a>. You can get in touch with him <a href="http://www.guitarchalk.com/p/about-me.html">here</a>, or via <a href="https://twitter.com/guitarchalk">Twitter</a>, <a href="https://www.facebook.com/guitarchalk">Facebook</a> and <a href="https://plus.google.com/u/0/109221824688243850332/posts">Google Plus.</a></em></p> http://www.guitarworld.com/guitar-chalk-sessions-adding-dynamic-appeal-your-power-chords-intervals-and-dyads#comments Bobby Kittleberger Guitar Chalk Sessions Blogs Lessons Thu, 28 May 2015 14:50:46 +0000 Bobby Kittleberger 23089 at http://www.guitarworld.com Bent Out of Shape: Improve Your Fretboard Knowledge with This Arpeggio Exercise http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-arpeggio-exercise <!--paging_filter--><p>In this lesson, I'm going to teach you an arpeggio exercise that will help improve your music theory and knowledge of the fretboard.</p> <p>Players often play exercises only to improve technique, but it's important to vary your exercises to focus on other important parts of guitar playing. Although this exercise is based on arpeggios, it is meant to help you visualize scales differently from the standard "three note per string" shapes. </p> <p>How can learning an arpeggio exercise help with scales? </p> <p>The answer is simple: Arpeggios are derived from scales. A big problem for guitarists is not being able to switch between the two in a musical way. When you listen to solos, particularly in rock/metal, when guitarists play arpeggios, they are usually played with a sweeping or tapping technique, playing exclusively arpeggio sequences. Then when you hear scales, it's the same problem, but usually they are being played as ascending or descending alternate-picked sequences. </p> <p>Hardly ever will you hear a player integrate the two and sound musical and melodic. It all comes back to the age-old problem of guitar players whose solos sound like a bunch of exercises stuck together. There's the metaphor about players who sound like robots. These "robot" guitar players usually have two modes of lead playing: "scale mode" and "arpeggio mode." In the following weeks, I'm going to be working on a series of lessons to help you play less like a robot. </p> <p>My exercise is very simple and based off building arpeggios from scales. A simple way to look at building arpeggios is by stacking third intervals or simply skipping notes within a scale. For example, from the A minor scale (A B C D E F G), you would make an A minor arpeggio (A C E). You skip the B and D notes to make the arpeggio. You can carry on skipping notes within the scale to make larger arpeggios until you have eventually used every note from the scale to make an A minor 13th chord (A C E G B D F).</p> <p>This exercise applies that same system to every note within the key of A minor to make seven different 13th arpeggios. From every note of the A minor scale we build a 13th arpeggio by stacking thirds and play them in order. </p> <p>When playing this exercise, don't just memorize the frets from the tab; learn each note you are playing and visualize how ascending and descending through each arpeggio relates to the key scale of A minor. The way I have arranged the notes on the fretboard is not important, and if you have a good understanding of the theory behind the exercise, you should experiment with your own fretting. </p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157832888&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><img src="/files/imce-images/tab_8.jpg" width="620" height="279" alt="tab_8.jpg" /></p> <p>The goal of this exercise is to help develop your fretboard knowledge of scales. For that reason, each arpeggio is built strictly using only notes from the A minor scale. Some of the arpeggios in this exercise are not "normal" 13th arpeggios, which would usually involve flattening of certain intervals. However, if you can visualize how an arpeggio is derived from a scale, you can better incorporate them into your solos without relying on arpeggio shapes, which will usually end up sounding like exercises. </p> <p><em>Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-improve-your-fretboard-knowledge-arpeggio-exercise#comments Bent Out of Shape Will Wallner Blogs Lessons Thu, 28 May 2015 14:49:09 +0000 Will Wallner 21765 at http://www.guitarworld.com Guitar Tricks: Eight Things You Need to Know About Arpeggios http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="http://www.guitartricks.com/v2/chords">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="http://www.guitartricks.com/guitarglossary.php?term=Hammer-on">hammer-ons</a> and <a href="http://www.guitartricks.com/guitarglossary.php?term=Pull-off">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="http://www.guitartricks.com/guitarglossary.php?term=Arpeggio">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href="http://www.guitartricks.com/lesson.php?input=17379&amp;s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="http://www.guitartricks.com">Guitar Tricks.</a></em></p> http://www.guitarworld.com/guitar-tricks-eight-things-you-need-know-about-arpeggios#comments Guitar Tricks Blogs News Lessons Thu, 28 May 2015 14:47:20 +0000 Kathy Dickson 22866 at http://www.guitarworld.com Jazz Guitar Corner: B.B. King Blues Lines for Jazz Guitar http://www.guitarworld.com/jazz-guitar-corner-bb-king-blues-lines-jazz-guitar <!--paging_filter--><p>After learning about B.B. King’s recent passing, I went back and spent some time listening to my old B.B. King records, enjoying spending time with one of my favorite guitarists. </p> <p>While listening to B.B.’s playing for a few hours, I began to hear lines in his vocabulary that were not only great blues ideas, but that could be applied to a jazz guitar solo and fit perfectly in that genre as well. </p> <p>In this lesson, I’ve laid out three classic B.B. King lines that Jazz guitarists can study, break down and apply to their playing in order to translate the vocabulary of this legendary guitarist into their jazz soloing lines and phrases. </p> <p><strong>B.B. King Blues Line 1</strong></p> <p>The first line is a typical B.B. King minor blues lick that you can apply to your jazz blues soloing, here written out in the key of Bb. </p> <p>Once you have this line under your fingers, try playing it in different keys, as well as putting on a Bb jazz blues backing track and inserting this line into your improvised solos over that progression. </p> <p><img src="/files/imce-images/1_12.png" width="620" height="172" alt="1_12.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536361&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>B.B. King Blues Line 2</strong></p> <p>We’re moving over to the other side of the blues with a B.B. King major pentatonic scale line in this example. Though he is mostly known for his minor blues phrases, B.B. King also was a master at crafting interesting and creative major sounding lines and using them in just the right moments to create contrast in his solos. </p> <p>If the major pentatonic scale is new to you, it looks similar to the minor pentatonic scale on the fretboard, but you need to treat it as an arpeggio in your soloing. This means that if you have a Bb7 chord, such as you do in this example, you solo over that chord with the major pentatonic scale. </p> <p>When you move to the Eb7 chord, the next chord in the jazz blues in Bb progression, you have to move to an Eb major pentatonic scale. </p> <p>Each chord gets its own major pentatonic scale, as opposed to the minor pentatonic scale, which can be used over the entire blues or jazz blues chord progression. </p> <p>You will also notice a few chromatic notes in the second bar, E-Eb, that connect the 5th of the scale, F, and the third of the scale, D. These chromatic notes will bring a jazzy sound to your major pentatonic lines, and they’re the reason that this B.B. King line in particular works so well in a jazz situation. </p> <p>When you have this lick under your fingers, put on a jazz blues backing tack and practice applying this line to the three 7th chords in that progression, Bb7, Eb7 and F7, using a different major pentatonic scale for each chord in the tune. </p> <p><img src="/files/imce-images/2_10.png" width="620" height="168" alt="2_10.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536465&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>B.B. King Blues Line 3</strong></p> <p>The final line mixes the major and minor blues sounds over a Bb7 chord, in a classic B.B. line that you can apply to your jazz blues soloing phrases. </p> <p>Again, because it mixes sounds from both scales, you will need to play this line over just a Bb7 chord, then when you move to Eb7 you need to move this line in order to fit that new chord. </p> <p><img src="/files/imce-images/3_8.png" width="620" height="170" alt="3_8.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536578&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>B.B. King Sample Blues Solo</strong></p> <p>To finish of our studies of these B.B. King blues lines for jazz guitar, here's a sample solo over a jazz blues progression in the key of Bb that uses the previous three lines in its construction. Try learning the solo one phrase at a time, and then piece it all together as you play the solo as a whole in your studies. </p> <p>You also can slow it down with a metronome at first, then work up to playing along with the sample audio as you build it up to speed in the woodshed. </p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-27%20at%205.45.32%20PM.png" width="620" height="518" alt="Screen Shot 2015-05-27 at 5.45.32 PM.png" /></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207536713&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jazz-guitar-corner-bb-king-blues-lines-jazz-guitar#comments B.B. King Jazz Guitar Corner Matt Warnock Blogs Lessons Wed, 27 May 2015 21:52:34 +0000 Matt Warnock 24563 at http://www.guitarworld.com LessonFace with John Heussenstamm: Introduction to Electric Blues Guitar — Video http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video <!--paging_filter--><p> <strong>This video and article offer introductory electric blues guitar concepts from guitarist and music educator John Heussenstamm. Author and co-author of multiple widely distributed books and videos from major music education publishers, and recipient of more than 10 million views on YouTube, Heussenstamm now can be reached for live online lessons via <a href="http://lessonface.go2cloud.org/SHW">Lessonface.</a></strong></p> <p>As you can see in the brief video below, the addition of certain key techniques can add a great deal of expression to your playing. In this video, I demonstrate some simple introductory concepts using the first position of the A minor pentatonic scale.</p> <p><img src="/files/imce-images/1-a-minor-scale.jpg" width="620" height="152" alt="1-a-minor-scale.jpg" /></p> <p>I also discuss how 7th chords allow you to interact with the major and minor pentatonic scales, and I briefly demonstrate the difference between these sounds.</p> <p><img src="/files/imce-images/2-common-chord-inversions.jpg" width="620" height="192" alt="2-common-chord-inversions.jpg" /></p> <p><img src="/files/imce-images/3-vibrato-riffs.jpg" width="620" height="180" alt="3-vibrato-riffs.jpg" /></p> <p>Of course, there's a lot more to learn after you digest this video. Before we can explore all the possibilities related to the electric blues style of guitar playing, we need to be familiar with concepts that relate to positions and keys. </p> <p>Even if we feel we are getting good at the techniques of the blues, such as hammer-ons, pull-offs, sliding, bending, vibrato, etc., sooner or later we have to focus on the different keys and ways to correctly position ourselves. For me, the most important thing to know is where the root notes are in the key the song is in. I chose the key of E for this lesson because there are more E notes on the fretboard due to open E strings. The first line shows E notes up and down the neck.</p> <p><img src="/files/imce-images/4_2.jpg" width="620" height="152" alt="4_2.jpg" /></p> <p>Did you notice an E note can be played on every string? Did you know the same E note or unison note can be played on different strings? The first five notes were all in the same register. The other E notes are organized in octaves.</p> <p>For me the best way to remember where these notes are and the significance of knowing that is learning how to play the same melody in different positions. The following nine riffs or melodies are all the same but in different positions and some in different octaves.</p> <p><img src="/files/imce-images/5_1.jpg" width="620" height="438" alt="5_1.jpg" /></p> <p>This knowledge really can boost your confidence. When you know where the root notes are in any key, you have the foundation points for improvisation and chord building. If you wanted to play in the key of F move everything up one fret. It's as easy as that. </p> <p>The next challenge would be to take a riff or melody and move it into other positions like I did without examples or any help. Find the E note within the riff and move it to another E note and repeat or recreate the same melody. If you succeed at this with full comprehension of what you are doing you're on your way to becoming a competent player. For me this became really important when I got interested in jazz.</p> <p><img src="/files/imce-images/6_0.jpg" width="620" height="150" alt="6_0.jpg" /></p> <p>Blues riff between two octaves. There's more to come in the future. </p> <p><img src="/files/imce-images/7.jpg" width="620" height="152" alt="7.jpg" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-TakYICY84Y" frameborder="0" allowfullscreen></iframe></p> <p><strong>If you found this information to be helpful and wish to continue studying along these lines, please follow our future articles with John Heussenstamm and look for Heussenstamm on <a href="link http://lessonface.go2cloud.org/SHW">Lessonface.</a></strong></p> <p><em>John Heussenstamm offers live online lessons and classes on <a href="http://lessonface.go2cloud.org/SFS">Lessonface.com. Learn more.</a></em></p> http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video#comments John Heussenstamm LessonFace Videos Blogs News Lessons Wed, 27 May 2015 18:12:39 +0000 John Heussenstamm 24558 at http://www.guitarworld.com Cracking the Code with Troy Grady: The Puzzle of Pentatonic Fours — Video http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video <!--paging_filter--><p>We recently gave <a href="http://www.troygrady.com/code/" target="_blank">Cracking the Code</a> viewers a cool homework assignment: find a way to play ascending fours, against the pentatonic scale, using the Yngwie Malmsteen and Eric Johnson downward pickslanting system.</p> <p>The assignment seems simple enough. </p> <p>After all, the pentatonic scale is nearly ubiquitous as a cornerstone of modern rock lead playing. And fours is a common rhythmic grouping, especially considering that most rock songs are written in 4/4 time. As a result, we hear pentatonic fours patterns in rock leads all the time, especially in keyboard and horn parts.</p> <p>Just not very often on guitar!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GgqYebTmLuQ" frameborder="0" allowfullscreen></iframe></p> <p>In fact, if we make a mental list of the most famous pickers of the last 50 years, I can think of none of them who play sequential pentatonic fours, fully picked, across the neck, at elite levels of speed and accuracy. </p> <p>And while I'm sure that out there in internet-land there are talented players who can do it, the fact remains that this feat is simply far less common than we'd expect.</p> <p>And it turns out, there's good reason for this. The complicated picking patterns that occur as we cycle the box in units of four can make life woefully difficult for the picking hand. On top of this, the barre fingerings that arise as we do this can make it tricky to avoid overlapping notes, which can sound messy on a high gain amp.</p> <p><strong>Pickslanting to the Rescue</strong></p> <p>But with a basic understanding of downward pickslanting mechanics, we can design a couple of really nice solutions to this problem that pay fantastic creative dividends.</p> <p>Cracking the Code viewers are already familiar with the downward pickslanting system, where upstrokes are used to switch strings with extreme efficiency. In fact, <a href="http://www.guitarworld.com/tags/cracking-code">we've written about this here at GuitarWorld.com before,</a> with respect to both Yngwie Malmsteen and Eric Johnson's use of the technique.</p> <p>In Johnson's case, his legendary accuracy derives from his focus on two-note-per-string picking sequences. By starting these two-note units on a downstroke, Johnson can ensure that the second note on the string—the final note—is an upstroke. </p> <p>This is critical. In the downward pickslanting system, upstrokes "escape" the strings naturally as a result of the slanted picking movement. As long as that escape happens on the last note of the string, Johnson can transition effortlessly to the next string no matter how fast the picking hand is playing.</p> <p><strongEJ Fours</strong></strongej></p> <p>By harnessing the power of the escaped upstroke, we can reap instant performance benefits:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ijhgBmX1Ugg" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/ej%20fours.png" width="620" height="515" alt="ej fours.png" /></p> <p>The key to this approach is position shifting. Each two-string, four-note unit is perfectly efficient thanks to the escaped upstroke. So by simply shifting up to the next position, we can maintain our two-note-per-string structure, and achieve the exact same efficiency for the next repetition of the sequence. After the second repetition, we simply move up to the next pair of strings, and repeat. Straightforward and elegant.</p> <p>The challenge of this approach is the fretting. By using three-note-per-string fingerings, we encounter third- and fourth-finger combinations that you may not be used to. </p> <p>But mastering these dramatically reduces the fatigue of always reusing the same two fingers. It also completely eliminates the error-prone jumping of the fretting hand between positions. Baking this coordination into your long-term memory is great exercise. And it also opens the door to all kinds of cool patterns and sequences you might come up with in the process.</p> <p><strong>Volcano Fours</strong></p> <p>In Season 2 Episode 2 of Cracking the Code, "Inside the Volcano," we encountered Malmsteen's famous expansion of the downward pickslanting system: sweeping. By using a single downstroke to move to the next higher string, we can completely sidestep the athletic challenges of switching strings with alternate picking.</p> <p>Because the pick is slanted downward, sweeping in the Malmsteen system only happens only during melodically ascending string changes. That works out fine for us, since that's precisely the direction in which our pentatonic sequence is moving:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/bILT9Ee2pBQ" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/volcano.png" width="620" height="515" alt="volcano.png" /></p> <p>By combining Yngwie's mastery of sweeping with the escaped upstroke of downward pickslanting, we experience a double-dip boost in efficiency. The first unit of four uses a downward sweep for the string change. The second unit uses an escaped upstroke and a sweep. So in other words, we have a formula: sweeping in the ascending direction, and alternate picking in the descending direction. </p> <p>This is the Malmsteen way. It's the key to the stunning speed of the "Volcano Lick," which we examine in <a href="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">"Inside the Volcano,"</a> and it's the secret to Malmsteen's seemingly impossible accuracy in playing ascending scalar lines.</p> <p>Although it looks complicated on the surface, this Volcano-style solution is actually even easier to execute than the pure alternate picking method of the Eric Johnson-style approach. Gone are the awkward third- and fourth-finger fretting combinations. </p> <p>In fact, although the Volcano solution relies on three-note-per-string stretches, it only does so only every other repetition, instead of every repetition. The fact that sweeping makes two of the string changes nearly effortless is simply the icing on the cake.</p> <p><strong>Whole Diminished Power</strong></p> <p>These clever mechanical solutions are only two of the many possibilities that arise as a result of pickslanting thinking. But how can we make use of all this picking power? Well, if the pentatonic scale is just a two-note-per-string fingering, then we should be able to apply these picking patterns to almost any idea that we fret using two notes per string. How about diminished?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F4MkvNjBn2k" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/dim%204.png" width="620" height="417" alt="dim 4.png" /></p> <p>Very cool. Malmsteen is famous for his use of diminished sweep shapes on the top three strings. But here we've discovered a way to take this exotic tonality across the entire guitar. No how about whole tone?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Dja8SeTxfco" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Ht4.png" width="620" height="807" alt="Ht4.png" /></p> <p>Also very cool. Like the diminished scale, the symmetrical nature of whole tone fingerings make them ideal for sequential ideas. And these shapes are even easier to reach than the diminished fingerings thanks to their more compact fretboard spans.</p> <p>But there's no need to play favorites. All three of these ideas—pentatonic, diminished and whole tone—can live happily together in a modern blues context. Here's what that can sound like:</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XhlWnE5hR7M" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/funk1.png" width="620" height="697" alt="funk1.png" /><br /> <img src="/files/imce-images/funk%202.png" width="620" height="133" alt="funk 2.png" /><br /> <img src="/files/imce-images/funk%203.png" width="620" height="147" alt="funk 3.png" /></p> <p>Diminished and whole tone sounds work well with blues riffing because of their inherent tritone intervals. By lining these intervals up with the tritones that already exist in the blues scale—between the root and the flatted fifth, for example—you can generate some really cool fusion sounds that seem to protrude just beyond what the listener expects. Mixing in little bits of the sequenced feel takes this one step further as a kind of counterpoint to the looser, funkier feel of box-style blues riffing.</p> <p>And that's really the point. In Cracking the Code, mechanical explorations are never academic. Instead, finding interesting mechanical concepts and matching them with interesting tonalities is an incredibly powerful source of creativity.</p> <p><strong>If this kind of discovery appeals to you, you'll find much more of it in <a href="http://www.troygrady.com/code/" target="_blank">Cracking the Code</a>, the show, as well as in our <a href="http://www.troygrady.com/mechanics/" target="_blank">Masters in Mechanics Series</a>, a monthly subscription series exploring an even wider array of fascinating topics at the intersection of mechanics and music.</strong></p> <p><em>Troy Grady is the creator of <a href="http://troygrady.com/code/">Cracking the Code</a>, a documentary series with a unique analytical approach to understanding guitar technique. Melding archival footage, in-depth interviews, painstakingly crafted animation and custom soundtrack, it’s a pop-science investigation of an age-old mystery: Why are some players seemingly super-powered?</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item even"> <a href="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video#comments Cracking the Code Eric Johnson Troy Grady Yngwie Malmsteen Videos Blogs News Lessons Wed, 27 May 2015 15:15:13 +0000 Troy Grady 24555 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The "Folk Baroque" Stylings of John Renbourn http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun <!--paging_filter--><p>On March 26, 2015, the guitar community lost a legend: progressive folk master and founding member of Pentangle, John Renbourn, a picker who literally did what he loved—playing and teaching—up until the end. (When Renbourn didn’t appear at a concert in Glasgow, Scotland, police checked his nearby home, where he was found deceased from an apparent heart attack.) </p> <p>With a steady stream of albums issued since 1965, Renbourn is among the first of the influential English fingerstyle “folk baroque” heavyweights (a list which includes Davey Graham, Bert Jansch and Martin Carthy); he had a profound impact on pickers in the U.K.—everyone from Jimmy Page and Richard Thompson to Nick Drake and John Martyn—and abroad (Jorma Kaukonen, Jerry Garcia, Pierre Bensusan and many others). </p> <p>A fan of music beyond “folk,” Renbourn incorporated classical (in the mid Eighties, he studied composition and orchestration at Dartington Collage of Arts), jazz, blues and “early” music (Medieval, Elizabethan and other eras) into his overall artistic vision. He also played a key role in exposing the Renaissance music of John Dowland to the masses in the late Sixties. Let’s pay our respects to Renbourn with a retrospective look at his influential solo output.</p> <p>In 1965, around the time he issued his self-titled solo debut, Renbourn met Bert Jansch at a London club. The two became roommates and began playing duo renditions of traditional and contemporary folk songs with an emphasis on counterpoint (creative musical interplay between two or more single-note “voices”). The results are documented in 1966’s <em>Bert and John</em> album, marking the birth of “folk baroque.” </p> <p>In 1967, Renbourn’s <em>Another Monday</em> hit the streets, an LP containing the bluesy fan favorite “Buffalo,” which informs <strong>FIGURE 1</strong>. That same year, Renbourn and Jansch made a full-time “band” commitment, forming the seminal “folk-jazz” group Pentangle, a collaboration that continued until 1973.</p> <p>When Pentangle disbanded, Renbourn prioritized his solo career and released <em>The Hermit</em>, a record ripe with intricate cuts like “Faro’s Rag,” not unlike <strong>FIGURE 2</strong>, the latest challenge for Renbourn’s hardcore “picking” fan base (the album art even included guitar transcriptions). </p> <p>Interestingly, Renbourn’s revitalized direction was a direct reaction to having been in a band for several years; after Pentangle, the guitarist realized he’d become a bit out of touch with developments on the solo acoustic guitar scene and felt compelled to contribute in impressive fashion. This pursuit continued throughout the decade, evidenced in 1979’s <em>The Black Balloon</em> title track, a feast of pianistic voicings and strategically placed natural harmonics, like those in <strong>FIGURE 3</strong>.</p> <p>In his later years, which included Pentangle reunions, as well as collaborations with Stefan Grossman and Wizz Jones, Renbourn would conjure more impressionistic sounds from his ax, which were chiefly facilitated by his use of unorthodox tunings, such as open G minor, used in the Celtic-flavored title track to <em>The Nine Maidens</em>, which informs <strong>FIGURE 4</strong>. This tuning is somewhat similar to the D A D G Bb E tuning Renbourn used in the title track to his final album, 2011’s <em>Palermo Snow</em>, akin to <strong>FIGURE 5</strong>.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/109513617&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe><br /> <br /><br /> <img src="/files/imce-images/dalekkkkk.jpg" width="620" height="722" alt="dalekkkkk.jpg" /></p> http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun#comments acoustic nation Dale Turner John Renbourn July 2015 News Lessons Wed, 27 May 2015 11:21:59 +0000 Dale Turner 24532 at http://www.guitarworld.com What In the World: Using String Skipping to See Scales Differently http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently <!--paging_filter--><p>When you first learn the three-note-per-string and/or single position seven-note scale, you learn the patterns starting on the low E string and work your way up to the high E and back. </p> <p>You do this for each of the seven patterns up the neck, practicing and perfecting your scales. </p> <p>This is great! The only problem is, this is how you are training your hands and brain to approach them. </p> <p>Rather than viewing the scales as the available notes you have to choose from in a given key/mode, the order of the notes sometimes becomes how you rely on playing them in an improvising and/or composing situation. </p> <p>There is absolutely nothing wrong with this; it has worked fine and beautifully for hundreds of years. The melody for “Joy to the World” is simply a descending major scale. Learning to approach your scales in a different way will shake things up and hopefully change your habits of approaching scales in only an A-to-Z fashion. </p> <p>String skipping is mostly associated with being a shred technique, covering a lot of ground quickly on the guitar by skipping over adjacent strings. The approach I am presenting is not so much a shred thing, but more of a way to know the scale on only two strings at a time, rather than all six, as most people generally learn them. If anything, this will force you to know the notes of the scale better, rather than relying on muscle memory to get through them. Remember the most important thing when playing music is to consciously create, rather than go through the motions of learned patterns that are embedded in our brains from constant repetition. </p> <p>For the examples, I have written the scales out in the key of F. Once the concept is learned, it should be applied to all keys/modes. As you play through these, you will notice different shapes that repeat across each set of two strings according to the degree of the scale you start on. Eventually you will see that if, for instance, you start a pattern on the third degree of the scale, you will be playing one shape; if you start on the root of the scale, you will be playing a different one, etc. </p> <p><strong>String set 1, High E and G strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-1.jpg" width="620" height="445" alt="Lesson-10-1.jpg" /><br /> <br /><br /> <strong>String set 2, B and D strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-2.jpg" width="620" height="461" alt="Lesson-10-2.jpg" /><br /> <br /><br /> <strong>String set 3, G and A strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-3_0.jpg" width="620" height="463" alt="Lesson-10-3_0.jpg" /><br /> <br /><br /> <strong>String set 4, D and low E strings:</strong></p> <p><img src="/files/imce-images/Lesson-10-4.jpg" width="620" height="461" alt="Lesson-10-4.jpg" /></p> <p>To further learn and integrate this approach to your playing, try improvising with this technique using only one string set at a time. Move up and down one string and then hop over to the other string in the set, keeping in mind to be as melodic as possible at all times, rather than trying to shred through the scale. </p> <p>Being limited to only two strings at a time will force you to approach the instrument in a way that you may not have possibly explored before.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0d5nGfbLifc?list=UUozoKYJmat8MUYcdRo40cHA" frameborder="0" allowfullscreen></iframe></p> <p><em>Steve Booke is a composer for film and TV from the New York area. His compositions range from orchestral to metal to world styles from every corner of the planet. A graduate of Berklee College of Music, Steve has played guitar for more than 28 years. He has recorded 10 albums of his own and has played on countless others. He plays gigs in the NY area and tours the East Coast with a variety of bands. He has performed with Ben E. King and members of Mahavishnu Orchestra. He endorses D'Addario/Planet Waves, Larrivee Guitars, Levy's Leathers, Peavey, Stylus Pick, Finale PrintMusic, Pigtronix, Tech 21, Toontrack, Graph Tech, Seymour Duncan, Waves, Studio Devil and L.R. Baggs. His music is available on iTunes and Amazon. Steve is now offering Skype lessons and can be contacted at info@stevebooke.com. Visit <a href="http://stevebooke.com">stevebooke.com</a> and <a href="https://www.facebook.com/SteveBookeGuitaristComposer">Facebook.com/SteveBookeGuitaristComposer</a>.</em></p> http://www.guitarworld.com/what-world-using-string-skipping-see-scales-differently#comments Steve Booke What In the World Videos Blogs Lessons Tue, 19 May 2015 22:18:28 +0000 Steve Booke 22302 at http://www.guitarworld.com Time to Burn with Michael Angelo Batio: More on Developing Proper Sweep Picking Technique — Video http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video <!--paging_filter--><p>Sweep picking is an incredibly useful and exciting technique that allows guitarists to perform arpeggios in a flashy, keyboard-like manner. </p> <p>It has become a huge part of my playing style, and I’m always looking for new and different ways to incorporate sweep picking into musical ideas I come up with. Last month, I detailed the basic mechanics of the technique, and now I’d like to further demonstrate its proper execution. </p> <p>To review, a sweep is the movement of the pick across two or more adjacent strings in a single, continuous stroke, a downstroke being used to play an ascending melodic line and an upstroke used to play a descending one. Sweeping across only two adjacent strings is also often referred to as economy picking, or rest-stroke picking, typically when applied to phrases that are more scalar than arpeggio-based. </p> <p>Some of the fastest guitarists ever, from gypsy jazz legend Django Reinhardt to jazz-fusion wizard Frank Gambale, have relied on economy, rest-stroke and sweep picking techniques to perform their breathtaking high-velocity solos and make them sound seemingly effortless.</p> <p>For now, we’re going to focus specifically on arpeggios that move across the top five strings. <strong>FIGURE 1</strong> illustrates a sweep-picked A major arpeggio (A C# E). I begin with my index finger on A, fifth string, 12th fret, and pick this note with a downstroke. I then hammer-on with my pinkie to C# at the 16th fret. </p> <p>Then, with my middle finger barred across the D, G and B strings at the 14th fret, I continue the initial downstroke by dragging the pick across these strings and then the high E string, using my index finger to fret the E note at the 12th fret. I then fret the high A at the 17th fret with my pinkie and pick that note with an upstroke. I follow this with a pull-off back to the 12th fret then continue the upstroke by dragging the pick across the B, G, D and A strings in one continuous, unbroken motion, followed by a downstroke on the A note on the fifth string’s 12th fret. <strong>FIGURE 2</strong> illustrates the complete pattern cycled repeatedly in a continuous, even flow of sextuplets. </p> <p>An essential component of proper sweep picking technique is muting unused strings with both hands. When sweeping, I always lightly rest the edge of the pick-hand palm across the strings in front of the bridge (what is known as palm muting), which helps prevent the strings not being picked from ringing. Additionally, when fretting on the lower strings, I use the fleshy “paws” of my fretting fingers to mute the adjacent higher strings, aiding in clear articulation of each note as it is picked, with no other strings ringing. </p> <p>The next step is to work on applying sweeps to other arpeggio shapes in different positions, as demonstrated with a ninth-position A major shape in <strong>FIGURES 3–5</strong>. When played in this position, a one-note-per-string fingering scheme is used, except on the high E string. <strong>FIGURE 3</strong> presents the basic shape, and <strong>FIGURE 4</strong> demonstrates one way you can continuously cycle the pattern. I myself usually double-pick the initial A note when repeating this pattern, as shown in <strong>FIGURE 5</strong>. </p> <p>A great way to practice your sweeps is to alternate between parallel major and minor triads, such as A and Am. <strong>FIGURES 6</strong> and <strong>7</strong> illustrate this approach applied to 12th and ninth positions, respectively. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V8cBfY-z3fk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/time%20to%20burn.png" width="620" height="679" alt="time to burn.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/time-burn-more-developing-proper-sweep-picking-technique-video#comments July 2015 Michael Angelo Batio Time to Burn Videos Blogs News Lessons Magazine Tue, 19 May 2015 19:46:24 +0000 Michael Angelo Batio 24518 at http://www.guitarworld.com Secrets of Shred with Sammy Boller: Whipping Sweep Arpeggios — Video http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video <!--paging_filter--><p>In this lesson, I’m going to show you how to expand your sweep picking skills by adding slides to create a chaotic, whipping sound. </p> <p>I’m going to show you two different patterns, then combine them to create longer runs all the way down the neck. </p> <p>Let’s jump right into our first example in the key of D minor.</p> <p><strong>EXAMPLE 1</strong> is a diatonic sweep pattern starting in the 17th position. For this example, I slide between positions by utilizing slides on the high E string. To create a whipping sound, accent the slides as much as possible with your fourth finger. This riff ends with a short D minor pentatonic run in the 10th position. </p> <p>Moving on to <strong>EXAMPLE 2</strong>, I take the same sweep as our first example, but this time shift down to the 10th position using a slide on the G string. For this example, I accent the slide with my third finger. This riff also ends with a short run with the D minor pentatonic scale.</p> <p>For <strong>EXAMPLE 3,</strong> we take the slides of <strong>EXAMPLES 1 and 2</strong> and combine them into a longer descending run. This example starts with the same sweep in the 17th position, but this time, we utilize slides on the G and E strings to reach the pentatonic run in the 10th position. To bring out the whipping effect, be sure to focus on exaggerating the slides between positions as much as possible. Remember, how you play a riff is often more important than executing every note perfectly.</p> <p><strong>EXAMPLE 4</strong> takes things one step further by extending our sweep patterns down the neck to the fifth position. I achieve this by utilizing slides on the high E , B and G strings. In each position, I play notes that are diatonic to D minor. This example ends with a short blues run in the fifth position.</p> <p>When soloing, you can sweep any combination of notes that are in a key—not just diatonic arpeggios. A lot of shredders get stuck only sweeping arpeggio shapes, but sweep picking can be utilized in many different ways. Try coming up with sweep patterns of your own and use exaggerated slides to shift between positions. Hopefully using this whipping slide technique will help break you out of your comfort zone and ultimately expand your dynamic range on the guitar. </p> <p>Cheers!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4a5XKlCqTw0" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Sliding_Sweep_Arpeggios.jpg" width="620" height="644" alt="Sliding_Sweep_Arpeggios.jpg" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="https://www.facebook.com/citizenzero">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at info@sammyboller.com or follow him on <a href="https://twitter.com/sammyboller">Twitter</a>.</em></p> http://www.guitarworld.com/secrets-shred-sammy-boller-whipping-sweep-arpeggios-video#comments Sammy Boller Secrets of Shred Videos Blogs Lessons Mon, 18 May 2015 20:51:42 +0000 Sammy Boller 24504 at http://www.guitarworld.com