String skipping is a technique I use in a handful of solos that I’ve recorded with my band, Falling in Reverse. Some of my guitar students have erroneously assumed that certain phrases were performed using sweep picking, but in fact I used string skipping, along with alternate and economy picking, to create a similar effect. If you’re a fan of the sound of fast alternate- and sweep/economy-picked phrases, the string-skipping techniques I demonstrate in this month’s lesson will appeal to you.
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.”
Hey, everyone! In the past few blog posts, I've been discussing various arpeggio exercises in order to show you how notes on the fretboard are connected, and also how to master the fretboard. In this column, I'd like to continue the arpeggio discourse but also really challenge you by taking it up a notch. I present arpeggio inversions!
With his monolithic chops and die-hard work ethic, Broderick has emerged as the scariest monster shredder on the planet. As he makes clear in the above quote, Broderick has a deep respect for both music and musical performance and has pushed himself relentlessly in the pursuit of technical proficiency and musical freedom. No less an authority than Dave Mustaine calls Broderick “the greatest guitar player Megadeth has ever had.”
When learning how to play guitar, many of us begin by exploring major and minor triads, often in the open position. As we advance, we might take these three-note chords up the neck and look at different inversions in our practice routine. But we tend to stop at closed-position triads when checking these shapes out in the woodshed.
Exploring the world of country guitar is a diverse and exciting journey, one from which a guitarist of any background can benefit, while having fun. Modern country guitar is an amalgam of traditional and not-so-traditional playing approaches borrowed from several related homegrown American styles. As such, it includes elements of blues, bluegrass, rock and roll, and even jazz, and it offers a tasty mix of expressive and challenging playing techniques.