I started making this lesson when I was at a mates house tryin to teach him
some stuff by tabbing it out then it just kinda evolved.
This lesson basicaly consists of a series of finger exercises designed to improve your speed and technique. (none of its supposed to sound any good its just a good finger workout). Ive tried to make it useful for any ability by explaining anything some beginners might not understand but
putting in things i think might help experienced players.
I wasnt sure how to classify this lesson so Ive put it under 'soloing' as this will probably most useful for solo style prctise. If you have any questions about anything email me at bouipoz@hotmail.com. I make a few references to a riff in Metal Storm by Slayer, this is it:
D|-5-7-8-5-7---5--------------------7---|
A|-----------8----7-8-5-7---5-7-8-5---8-|
E|------------------------8-------------|
Played quite fast all notes are the same length helped my playing a lot
try listening to the song -pretty cool.
main finger positions:
(one finger per fret)
If i ever say anything like this
:- 1, 2, 4
This is a finger position:
1= First or index finger
2= Middle or biggest finger
3= Third or ring finger
4= Fourth finger or pinky
These are the only 3 finger shapes used in most scales.
Positiion 1
:- 1, 2, 4
example tab:
|-5-7-9-|
Postition 2
:- 1, 2, 4 (again)
example tab:
|-5-6-8-| (this is different)
Position 3
:- 1, 3, 4
example tab:
|-5-7-8-|
(how Metal Storm is played)
These won't usually be found in scales but are good finger exercise.
Position 4/5
:- 1, 2, 3 -or:
:- 2, 3, 4
example tab:
|-5-6-7-|
Some exercises using these postions
Metal Storm is a great exercise for the :- 1, 3, 4, position
also you can use some of the other finger positions using the
same pattern from Metal Storm.
example tab:
(using the first :- 1, 2, 4, position)
D|-5-7-9-5-7---5-------------------7--|
A|-----------9---7-9-5-7---5-7-9-5--9-|
E|-----------------------9------------|
And you can do the same with any of the other finger positions as they
all only contain three notes which is what you need fo this pattern. A more simple pattern to use that will also make good practice for sweep picking, (use alternate picking and youll get there).
example tab:
(Using the first :- 1, 3, 4 position) -again
e|-------------------------------5-7-9-|
B|-------------------------5-7-9-------|
G|-------------------5-7-9-------------|
D|-------------5-7-9-------------------|
A|-------5-7-9-------------------------|
E|-5-7-9-------------------------------|
Pick this like so:
/= downstroke
\=upstroke
e|-------------------------------/-\-/-|
B|-------------------------/-\-/-------|
G|-------------------/-\-/-------------|
D|-------------/-\-/-------------------|
A|-------/-\-/-------------------------|
E|-/-\-/-------------------------------|
as you can see by doing this when moving between string the pick will be still moving in the same direction.
this can also be done with any of the other finger patterns, all the positions I gave you need three fingers (odd number improtant) so youll find when playing something like the tab above with alternate picking your hand will 'sweep' across the neck. Improved speed can give it a good smooth feel.
try playing it backwards (high e to low E) as well and reversing the direction like so:
__and so on
D|-------------9-7-5- /|
A|-------9-7-5------- /
E|-9-7-5---------------
Play this backwards (high e to low E). You can also mix up the order of notes on each string to make a different workout.
example tab:
(using the first :- 1, 3, 4 position) -again
instead of:
-|-5-7-9-|
play:
-|-5-9-7-|
or:
-|-9-5-7-|
Just mix them up. If you find a hard one you cant do you need to practise that one more. One last one to annoy you with, when I fist tried to play this next exercise I nearly threw up it confused me so much. Use any two fingers that are next to each other eg:
:- 1, 2
example tab:
A|-----1-2-----2-3-----3-4-----4-5-----5-6-----6-7-----7-8-|
E|-1-2-----2-3-----3-4-----4-5-----5-6-----6-7-----7-8-----|
This can be done with any two fingers. Start off with pairs that are next to each other like the one you just used or:
:- 2, 3 -or:
:- 3, 4
This exercise is especially good as you may already be a good player but this makes you realise how untrained some of your fingers are. Then try pairs of fingers one or two spaces apart and try different orders or directions eg:
:- 1, 3
or:
:- 2, 4
or even:
:- 1, 4
You can generally experiment with anything in this lesson just mix it up and improve speed. Have fun.
Rabu, 17 Juni 2009
Finger Speed Workouts
Soloing Through Modes
Okay,so this lesson is gonna show you how to shred through your modes, and use your melodic feel to do solos through them as well.
The first thing you need to know is your modes. If you don't know these, find a chart, (Don't make the mistake of reading it backwards, cuz it'll screw up your uderstanding of them for a long time) and use that. Play throught them in starting in C major on the A string, in a linear fashion until you can remember them all.
Now, you need to know where your fourths and fifths are, and which mode they are in, in relation to the one you are playing. For simplicity sake, we'll use E minor for this lesson.
Here are the modes for, or G major.
G- Major
A- Dorian
B- Phrygian
C- Lydian
D- Mixolydian
E- Minor
F#- Locrian or Hypophrygian
G- Major
And E minor.
E- Minor
F#- Locrian
G- Major
A- Dorian
B- Phrygian
C- Lydian
D- Mixolydian
E- Minor
Okay, lets start. First, lets travel through our fourth. Play E minor scale up to the 7th fret on the D string and finish the run in Dorian mode, like this.
e|-------------------------------------------------------------------------|
B|--------------------7-9-10-----------------------------------------------|
G|----------------7-9------------------------------------------------------|
D|---------7-9-10----------------------------------------------------------|
A|--7-9-10-----------------------------------------------------------------|
E|-------------------------------------------------------------------------|
From here, we can slide up the the twelvth fret on the B string, and come down Phrygian.
e|-------------------------------------------------------------------------|
B|--------------------7-8-10/-12-10----------------------------------------|
G|----------------7-9---------------12-11-9--------------------------------|
D|---------7-9-10---------------------------12-10-9------------------------|
A|--7-9-10-----------------------------------------------------------------|
E|-------------------------------------------------------------------------|
Now, we are on the fifth of the minor, Phrygian. Come down Minor from the 9th fret.
e|-------------------------------------------------------------------------|
B|--------------------7-8-10/-12-10----------------------------------------|
G|----------------7-9---------------12-11-9--------------------------------|
D|---------7-9-10---------------------------12-10-9\-7---------------------|
A|--7-9-10---------------------------------------------10-9-7--------------|
E|-------------------------------------------------------------------------|
This is a full run throught the fourth and fifth of the minor, which is more useful for melodic solos than shredding.
Next, we'll add a feel to this run, up and then down again. I don't put timing down, so I'll put the notes, and you play it how it's sounds good. Hold notes, add bends, trills etc. If you are a beginner with soloing, don't worry about how it sounds, just play until you are comfortable with the run, and add your own touches until it sounds good to you. This is how to develop your own feel to soloing. Do not feel limited to this arrangement of the notes. Play it your own way when you are ready to.
e|-------------------------------------------------------------------------|
B|--------------------8-10-8-7---8-7----8-7-----10/-12-10------------------|
G|------------------9----------9-----7------7-9-----------12-11----12-11---|
D|----9------7-9-10---------------------------------------------10-------9-|
A|--7---10-9---------------------------------------------------------------|
E|-------------------------------------------------------------------------|
e|-------------------------------------------------------------------------|
B|-------------------------------------------------------------------------|
G|-------------------------------------------------------------------------|
D|-10-12-10-9-7------------------------------------------------------------|
A|--------------10-9-7-----------------------------------------------------|
E|-------------------------------------------------------------------------|
Real quick here, we're gonna touch on shredding. Its kinda self explanatory. It' just like soloing, except you need to be thinking a million miles an hour on which mode you are gonna peel through next. I like going throught Fifths personally, and here is one of the first runs I learned. The mode format is:
Minor-->Phrygian-->Locrian(Down)-->Phrygian(Down)-->Mixolydian(Down)-->Phrygian-->Root Minor
e|------------------------------------12-14--------------------------------|
B|---------------------------12-13-15-------15-13-12-----------------------|
G|-------------------9/11-12-------------------------14-12-11\9------------|
D|---------7/9-10-12--------------------------------------------12-10-9----|
A|--7-9-10--------------------------------------------------------------12-|
E|-------------------------------------------------------------------------|
e|-------------------------------------------------------------------------|
B|-------------------------------------------------------------------------|
G|-------------------------------------------------------------------------|
D|---12-10-9---------------------------------------------------------------|
A|10---------12-10-9----------------10-9-7---------------------------------|
E|-------------------12-10-8-7-8-10----------------------------------------|
Thanks for taking a look. Tell me what you think!
Pentatonic Licks - Speed Style
Lick 1
Alright, welcome. This first lick is designed to build up finger strength. Great to use for a really fast break, sounds great and is easy to play. Check it out:
|---3--| |---3--| |---3--| |---3--|
E||------------------------------------------|
B||------------------------------------------|
G||------------------------------------------|
D||---------5---------7---------5---------7--|
A||--6h--7-----6h--7-----6h--7-----6h--7-----|
E||------------------------------------------|
Okay, so nice easy triplets using the blues note on the sixth fret of the A-string. Now, all examples are in A-minor, but can easily be transposed. Now lets break it down. First, place your second finger on the sixth fret of the A string and you first finger on the fifth fret on the D. Now pick the A string, hammer on the 7th fret with you third finger and then play the D string. Easy. Now it gets hard. PLay the A string again, hammer on the 7th and then lay your third finger flat over the 7th fret of the D string as well. Your third finger should cover both the 7th fret of the A and D strings. Now play the D string. Okay, good. Play it over and over until you can play it - super fast!
Lick 2
This next lick is a great finger warm up. It uses both hammer-ons, pull-offs, bend and vibrato. Check it out:
|---3--|
E |--------------5----------------|--------------------------|
B |-----------5-----8p--5---------|--------------------------|
G |-----5h-7---------------7b(9)--|--5-----7--5b-------------|
D |--7----------------------------|-----7-----------7~~~~~~~~|
A |-------------------------------|--------------------------|
E |-------------------------------|--------------------------|
Okay, this one is a little bit more involved. Star with you third finger on the D string and your first finger on the G. PLay the A string, then the G-string, then hammer on the 7th fret with you third finger. Now bar the B and E strings with your first finger and play them. Then fret the 8th fret of the B-string with your second finger, keeping the B and E barred, then play the note and pull off. Bend the 7th fret of the G string with your thrid finger a full tone. Fret the G string with you first finger, then the D string with your third, then lay your third finger over the 7th fret of the G string. Finally, slightly bend the 5th fret of the G string with your first finger and end on your third or second finger, which ever it is easier to vibrato with. There!
Lick 3
This third lick is the first of our "solo licks". This one is very popular with players like Eric Clapton. Here goes:
|---3--| |---3--| |---3--|
E |---------5----------------5---------|---------5-------------------|
B |------5----h8p--5------5----h8p--5--|------5----h8p--5--8b--------|
G |--7b---------------7b---------------|--7b-------------------------|
D |------------------------------------|-----------------------------|
A |------------------------------------|-----------------------------|
E |------------------------------------|-----------------------------|
First off, barre the B and E strings with your first finger. Now, bend the G string a full tone with your third finger, play the B and E strings, hammer-on the 8th fret of the B string with your second or third finger, whichever is stronger, then pull off. Don't pick the B string, just hammer-on, then pull-off. This allows you to build up more speed. We'll look further into this technique later. Now repeat this pattern three times and end by bending the B string a full tone with you third or second finger.
Lick 4
This next lick is a speed lick. It goes like this:
|--3-| |--3-| |--3-| |--3-| |--3-| |--3-|
E |--8p-5---8p-5---8p-5---8p-5---8p-5---8p-5---8s10--8~~~|
B |-------5------5------5------5------5------5-----------|
G |------------------------------------------------------|
D |------------------------------------------------------|
A |------------------------------------------------------|
E |------------------------------------------------------|
This one is eay. Just barre the B and E strings with you first finger, and fret the 8th fret of the E string with your third finger. Pick the E string, then pull-off and pick the B string. Do this six times then slide up from the 8th fret to the tenth fret with your third finger then play the 8th fret with your first finger and vibrato. Done!
Lick 5
This is the last lick and this one is great for building chops and speed. We touched on this in lick thre. Here it is:
|--3-| |--3-| |--3-| |--3-| |--3-| |--3-|
|--5------5------5------5------5------5-------------||
|----8p-5---8p-5---8p-5---8p-5---8p-5---8p-5-8b~----||
|---------------------------------------------------||
|---------------------------------------------------||
|---------------------------------------------------||
|---------------------------------------------------||
Start of by barring the B and E strings again. This time, play the E string, then hammer-on the 8th fret with your third finger and pull off. You don't ever pick the B string, only the E. The triplet is created by the hammer-on and pull-off. Because you are only picking one out of every three notes this allows you to play ridiculously fast! Alright.
That's it for me. If you would like the Guitar Pro version of these licks, just PM me! Ciao.
Soloing With The Minor Pentatonic Scale
So this "pentatonic" scale thing, everyone's saying how awesome it is to solo in it, and how you should be able to improvise 15 minutes off of the top of your head with it. Well, after we're done with you here, you will be. First off, here's the minor pentatonic scale with the root on the 5th fret (which just happens to be the key of A).
e|---------------------5-8-|
B|-----------------5-8-----| And then
G|-------------5-7---------| repeat back
D|---------5-7-------------| the other way.
A|-----5-7-----------------|
E|-5-8---------------------|
So now that you know what the scale is, go get good at it. I mean REALLY good. Before you go on stage and get ready to jam, you should be able to go from the high E string to the low E string and back in about 5 seconds, WITHOUT LOOKING, just for starters.
So your band mates come to you and say, "hey we wanna do (insert song here)". So you look at the chords your rhythm guitarist is doing, and you deduce (or you can just ask him, I'm sure he'll be happy to tell you) what key the song is in. For the sake of this lesson, we'll say it's in G.
Look at the tab of the pentatonic scale again. You'll notice the 5th fret comes up a lot in there. What you need to pay attention to is the very first note in that scale (the one on the low E string). That happens to be the A note. This is called the root note. The root note tells you what key the whole scale is in.
So, back to that song you and your band mates were talking about. It's in the key of G. You look for the G note on your low E string. It's on the 3rd fret. Therefore, your scale that you'll be working with is:
e|---------------------3-6-|
B|-----------------3-6-----|
G|-------------3-5---------|
D|---------3-5-------------|
A|-----3-5-----------------|
E|-3-6---------------------|
Now that you have the basic scale down, there's a little something else you can throw in there. It's kind of hard to explain in writing, so bear with me. Still looking at the key of G, there's a little something that you can attach onto any minor pentatonic scale.
e|-------6-8-|
B|---6-8-----|
G|-7---------|
D|-----------|
A|-----------|
E|-----------|
You can find where to attach this little thing by looking at the second of the 2 notes on the highest 2 strings in any pentatonic scale. In the key of G, they're both on the same fret (which they always will be)l the 6th fret. That tells you that you can play that little thing starting on the 6th fret with that shape. So for the key of A that I first showed you the pentatonic scale in, it would be:
e|--------8-10-|
B|---8-10------|
G|-9-----------|
D|-------------|
A|-------------|
E|-------------|
Last thing to come is octaves. With almost any key you play this scale in, you can play it in 2 places on the neck. If you have a 24 fret guitar, you can play ANY minor pentatonic scale in 2 places. However, I just have a good 'ol Strat, so it's only 22 frets.
The guitar is naturally an E instrument. I dunno if this is the proper wording for it, but you'll see what I mean in a moment. The "open" minor pentatonic scale is this:
e|---------------------0-3--|
B|-----------------0-3------|
G|-------------0-2----------|
D|---------0-2--------------|
A|-----0-2------------------|
E|-0-3----------------------|
This is in the key of E. You can imagine that the "zero fret" is the root note, thus E. This can be played 1 octave up, like this:
e|-------------------------------12-15-|
B|-------------------------12-15-------|
G|-------------------12-14-------------|
D|-------------12-14-------------------|
A|-------12-14-------------------------|
E|-12-15-------------------------------|
That first note on the low E string is still E, just one octave up, see? Last example, that scale in G from before, just one octave up:
e|-------------------------------15-18-|
B|-------------------------15-18-------|
G|-------------------15-17-------------|
D|-------------15-17-------------------|
A|-------15-17-------------------------|
E|-15-18-------------------------------|
You can think of the whole fretboard from the 0-11th fret repeating from the 12th to whatever fret your last fret is. Those dots can help you to find out where to go (for example, the 1st dot corresponds to the first dot after the double dots, which are the 12th fret, and where the 2nd octave begins).
So there you go! Once you get good at these, you're ready to improvise, and impress any tab memorizing weirdo that comes along (not a good thing to say on this site. To help you out, here's a blues lick I just thought of, it's probably been used about 1, 000, 000, 000, 000, 000, 000, 000, 000 times. Let's see if you can tell what key it's in.
e|------7---------------------------|
B|----7---10b~~---------------------|
G|-9b-----------9br-7---7-----------|
D|--------------------9---9~~-9p7h9-|
A|----------------------------------|
E|----------------------------------|
Legato Concepts: Single String Ideas
For anyone unfamiliar with the terms Legato, I will clarify for you now. Legato means 'smoothly connected', and applied to the guitar, means using techniques such as Hammer-ons, Pull-offs, Tapping and Sliding as a means of achieving a sound that might be described as 'fluid' or 'slippery'. One of the best exponents of the Legato approach is Joe Satriani.
To begin with, let us take a look at each of the *5 strings(see below) we are going to draw from in order to play the licks. Each string represents a different scale / mode. *Note that strings 1 and 6 are the same set of notes on the same frets, only on different strings and two octaves apart. I have not set out a Lick for string 6 for this reason. Please also be aware that the next 5 examples incorporate all possibilities for each string even though some of the higher notes are not used in this feature. They can be used for your own experimentations later on though.
We will begin with String 1, which is the Highest in pitch and the Thinnest string.
Ex. 1 - E Aeolian (E Minor)
|-0-2-3-5-7-8-10-12-14-15-17-19-20-22-24-*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
Ex. 2 - B Phrygian
|----------------------------------------*|
|-0-1-3-5-7-8-10-12-13-15-17-19-20-22-24-*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
Ex. 3 - G Ionian (G Major)
|----------------------------------------*|
|----------------------------------------*|
|-0-2-4-5-7-9-11-12-14-16-17-19-21-23-24-*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
Ex. 4 - D Mixolydian
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|-0-2-4-5-7-9-10-12-14-16-17-19-21-22-24-*|
|----------------------------------------*|
|----------------------------------------*|
Ex. 5 - A Dorian
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|----------------------------------------*|
|-0-2-3-5-7-9-10-12-14-15-17-19-21-22-24-*|
|----------------------------------------*|
Ok. Now to each lick. Basically, there's one for each string (except 6) starting at string 1, 'E'.
Performance Legend:
h = hammer-on
p = pull-off
S = slide *These sit to the BEFORE the note you need to slide to.
~~ vibrato
a = acciaccatura (slur-slide * mentioned in performance notes for LICK 5 below)
Duration Legend: (Durations sit above the notes)
S = 16-note pulse - play 4 notes per beat. If this is too difficult,
try playing 2 notes per beat instead as an 8th note pulse.
H = Half-Note - worth 2 beats.
Q = Quarter note - worth 1 beat
E = 8th note pulse - play 2 notes per beat
|-3-| This is the symbol for a triplet. Play 3 notes per beat.
Lick 1 - E Aeolian (E Minor)
The left fingering combinations are either 1st / Middle OR 1st / 3rd. This is because the intervals never stretch more than 3 frets apart.
S S S S S S S S S S S S S S S S S S S S S S S S H
|-0h14h15-0h12h14-0h10h12-0h8h10-0h7h8-0h|=5h7-0h3h5-0h2h3p0----|
|----------------------------------------|----------------------|
|----------------------------------------|----------------------|
|----------------------------------------|----------------------|
|----------------------------------------|----------------------|
|----------------------------------------|----------------------|
S S S S S S S S S S S S S S S S S S S S S S S S H
|-0h2h3-0h3h5-0h5h7-0h7h8-0h8h10-0h|=10h12-0h12h14-0h14h15p0----*|
|----------------------------------|----------------------------*|
|----------------------------------|----------------------------*|
|----------------------------------|----------------------------*|
|----------------------------------|----------------------------*|
|----------------------------------|----------------------------*|
Lick 2 - B Phrygian
Similar to Lick 2.
S S S S S S S S S S S S S S S S S S S S S S S S H
|----------------------------------|-----------------------------|
|-0h1h3-0h3h5-0h5h7-0h7h8-0h8h10-0h|=10h12-0h12h13-0h13h15-12----|
|----------------------------------|-----------------------------|
|----------------------------------|-----------------------------|
|----------------------------------|-----------------------------|
|----------------------------------|-----------------------------|
S S S S S S S S S S S S S S S S S S S S S S S S H
|----------------------------------------|----------------------*|
|-0h13h15-0h12h13-0h10h12-0h8h10-0h7h8-0h|=5h7-0h3h5-0h1h3-0----*|
|----------------------------------------|----------------------*|
|----------------------------------------|----------------------*|
|----------------------------------------|----------------------*|
|----------------------------------------|----------------------*|
Lick 3 - G Ionian (G Major)
This lick is a little more challenging and introduces some sliding into the mix. Remember, once you've you've learnt the scale properly you can use similar methods with the other notes on offer.
S S S S S S S S S S S S S S S S S S S S S S S S S S S S Q
|---------------------------------|------------------------------*|
|---------------------------------|------------------------------*|
|-0h2h4-0h4h5-0h5h7p5S4h5p4S2h4p2-|-0h2h4-0h4h5-0h5h7p5S4h5p4----*|
|---------------------------------|------------------------------*|
|---------------------------------|------------------------------*|
|---------------------------------|------------------------------*|
Lick 4 - D Mixolydian
Rather than using the pinky finger in the first beat of the lick from fret 4 to 5, slide up with the 3rd finger instead. Repeat this move again at the end of the bar from fret 5 to 7. Use the 3rd finger to begin bar 2 and be sure to have the first finger perform the sliding on the way back down.
S S S S S S S S S S S S Q S S S S S S S S S S S S Q
|----------------------------|----------------------------*|
|----------------------------|----------------------------*|
|----------------------------|----------------------------*|
|-0h2h4S5S4p2h4p2p0h2h4h5S7--|-9p7h9p7S5h7p5S4h5p4S2h4h0--*|
|----------------------------|----------------------------*|
|----------------------------|----------------------------*|
Lick 5
This one's actually more a rhythm lick, due to the powerchords getting in on the act. Sounds like an Intro Riff to me... [bar 1] - there is a *slur-slide from fret 3 to 5. This means that the middle finger should pick the note at fret 3 then quickly slide to fret 5 so that fret 3's note is not recognised. [bars 3 - 4] - Start with your 3RD finger at fret 12. Use the 1st finger for all the slides downward. To add a little more expression, try sliding into the first note of bar 3 and the end note of bar 4 with your 3rd finger.
|-3-| |-3-| * |-3-| |-3-|
E E E E E E a Q Q E E E E E E H
|---------------------|------------------*|
|---------------------|------------------*|
|---------------------|-------------2----*|
|---------------------|-------------2----*|
|-0h2h3-0h2h3-3S5S=3--|-0h2h3-0h2h3-0----*|
|---------------------|------------------*|
|-3--| |-3-| |-3-| |-3-| |-3-| |-3-|
E E E E E E E E E E E E E E E E E E Q Q
|----------------------------|---------------------*|
|----------------------------|---------------------*|
|----------------------------|---------------------*|
|----------------------------|---------------------*|
|-12p10S9h10p9S7h9p7S5h7p5S3h|=5p3S2h3p2h3-0--/12--*|
|----------------------------|---------------------*|
Shredding - To Create Your Own
Hey fellow guitar playing friends. This lesson will help you create your own sound, learn all the ideal scales and made up scales to help you out in all ways. You will see stuff in this, that's not mentioned in other lessons.
Basics
So lets go first off to basic soloing. Basic soloing should Be approached with first learning the common arpeggeos. These can be difficult for the beginning Solo player. But practice wlil ease it in time. There Really is no speed You should practice this by, Except slow so you can get it down.In time when you become more comfertable, You should speed up. Remember the biggest secret to soloing is accuracy. Accuracy is the key to all of soloing on guitar.
So the Arrpegeos. (which are known also as blues scales)
l------------------------------------5-8-5-----------------------------l
l-------------------------------5-8--------8-5-------------------------l
l------------------------5-7-8-----------------8-7-5-------------------l
l-----------------5--7-------------------------------7-5---------------l
l---------5-6-7-------------------------------------------7-6-5--------l
l--5--8-----------------------------------------------------------8-5--l
This Is the first blues scale It's used in a lot of combinations with other scales. Blues/rock players use many of these scales. Play around with it an get it down. Of course to beginning solo guitar players, It can seem kinda scary or strange, but it's nothing, just practice. Accuracy is key.
The next blues rock scale is the same as before but without a few notes. Making it less bluesy.
l------------------------------------5-8-5-----------------------------l
l-------------------------------5-8--------8-5-------------------------l
l------------------------5--7--------------------7-5-------------------l
l-----------------5--7-------------------------------7-5---------------l
l---------5---7-------------------------------------------7---5--------l
l--5--7-----------------------------------------------------------7-5--l
See not much Difference. Once you get theses down experiment around with them add some hammer ons, slides whatever you want there are endless things you can do. Once your done with that, your prob wanting to be hungry for more right? Well let's go to major an minor scales.
Major And Minor Scales. Theses sound like whoa whats that or oh man. But no it's not hard or scary. Minor an major scales are commonly used in metal and hard rock songs. Of course people mix an connect scales but I'll get into that later.
Heres one major scale. It Is the Cmajor scale.
l-------------------------------------------1-3-5---l
l-------------------------------------3-5-----------l
l-----------------------------2-4-5-----------------l
l--------------------2-3-5--------------------------l
l-----------2-3-5-----------------------------------l
l---1-3-5-------------------------------------------l
You can alter an change around this scal In endless ways. As for one, you could do the below.
l--------------------------------------------3-5-7--l
l-------------------------------------3-5-----------l
l-----------------------------2-4-5-----------------l
l--------------------2-3-5--------------------------l
l-----------2-3-5-----------------------------------l
l--3--7---------------------------------------------l
That's just one of many ways you can change an play around with it. Be creative! Jam it out an make up different Ideas. Again as always accuracy is key to anything, which Before we go on brings me to picking.
Picking
As of course there are many picking stlyes, Sweep picking, tremelo, string skipping, under picking, alternating picking, an down picking. Of course as when you start any of these picking stlyes, it takes time. No one can just learn it in two seconds. Accuracy is the ultimate key.
The First one I'll cover is Under Picking. Under picking Is when you pick from down to up. Placing the picking under the string an picking up. There are a lot of shredders that under pick at god like speed. That takes a lot of practice, but of course is possible to get down. Do basic scales (like the ones I list in this lesson). The best way to start off is under picking a open string over an over till your arm is basically beat. Once you get the hang of it, then do the scales.
The next picking I wanna go to Is Tremelo Picking. This is an important picking style for metal an shredding. It is hard to start off. The hard part is finding the most comfertable area for your hand to hold the pick. Then once you have it in the position you want, softly let your pick move back an forth across the string. Don't worry about the speed just move it back an forth until you feel your ready to speed it up. Speed it up slowly bit by bit an when your done with that keep going faster. Don't ever feel done. Keep practing even if you got it good keep doing It an be a master.
Alternate Picking. This is something that helps with tremelo picking. As when you pick you move your pick up an down across the strings. This is a common picking style for guitarist to start this all you need to do is practice scales. Once your ready to go faster pick back an forth faster across strings. This will boost your tremelo.
Sweep Picking. This is a bitch to do. Takes loads of practice. What you need to do is place your hand on the strings gently an let the palm of your hand mute the strings. Do not let the strings ring into each other. What you do is slide the pick gently as the wind across your strings an then stroking back up. So your picking down the strings, an then back up. It takes time an accuracy as anything would on guitar.
That's about it for the picking. But I will be adding more as we we move further down into the scales. I'll make some examples as well. Don't worry I'll put all you need to know in here.
So continuing with scales. As we covered one major an a couple blues rock scales, I will now move on an list some fun scales an pretty sweet sounding ones with some sweep exapmles, tremelo, an all that jazz.
Here is something you could sweep.It's not to difficult an if you have cheked other lessons, you prob seen one being used over an over. But this one I made for you guys to practice on.
l-----------------------------l
l-----------------------------l
l-----------------------------l
l------------------------15---l
l-------------10h12/15--------l
l--10h12h13-------------------l
Once you can do that an get the sweep sound try going back down.
D D DU U
l--------------------------------------------------------l
l--------------------------------------------------------l
l--------------------------------------------------------l
l------------------------15------------------------------l
l-------------10h12/15--------15p12p13p10----------------l
l--10h12h13-----------------------------------13p12p10---l
As you can see I listed a U an D / DU. D means down pick, across the strings until you see the U, when you reach the last note your supposed to hit, hit the last note again but while up picking back to where you started. Its not easy describing what to do but I think I got it stated here. I hope you understand. Let's try some tremelo picking.
l----------------l
l----------------l
l----------------l
l----------------l
l----------------l
l--00000000000---l
Once you master the tremelo on open strings try doing open tremelo while adding some chords. Like:
l-----------------------------------------------l
l-----------------------------------------------l
l-----------------------------------------------l
l----------------------------------------2--5---l
l-----------0------------4-5-------------0--3---l
l--000000-------0000000--2-3--000000000---------l
Try practcing, this, an then make up your own stuff to practice!
Once you get that down an once you have multiple string tremelo down, try soloing tremelo. One of the many things used in the art of shred. Try tremelo picking this solo:
l---------------------------------------------------------6-8-9-11-l
l-----------------------------------------------6-8-9-11-----------l
l---------------------------------------5-6-8----------------------l
l-------------------------------5-6-8------------------------------l
l---------3-5-6-------3-5-6-8--------------------------------------l
l--3-5-6--------3-5-6----------------------------------------------l
This is good for helping you solo tremelo. Of course when you add palm muting off an on while tremelo picking this you will get a sick sound as well. When you feel you got that down an you wanna boost your tremelo picking down. Try adding some tapping. Tapping is where you use your right hand finger or side of your pick to tap the fret board in one area while holding the sting down in another place. Example.
T T
l--------13p10p7-------13p10p7------------------------l
l-----------------------------------------------------l
l-----------------------------------------------------l
l-----------------------------------------------------l
l-----------------------------------------------------l
The T above the one note means to tap that note. Making a rolling pull off sound. Tapping is easy once you get it down you can do it anwhere, but you gotta know the neck pretty good. Or somewhat good. Adding tapping in solos with tremelo picking is used alot. Once you get tapping down in example one try adding some tapping in your soos!, When tapping you can also use sliding taps, an multi taps. I'll explain later. Here is a example for tremelo picking being finsihed with tapping.
T T
l---------------------------8h10h11--15p11p10p8-14p11p10p8----------------l
l---------7h8h10h11p10p8p7----------------------------------11/10p8p7-----l
l--5h7h8---------------------------------------------------------------7*-l
l-------------------------------------------------------------------------l
l-------------------------------------------------------------------------l
l-------------------------------------------------------------------------l
This is a good example for a metal solo. An see how the tremelo starts then goes in to the tapping which down into the end with a pinch harmonic? Yeah that's right I said Pinch harmonic. I purposly put that there cause the next thing I wanted to you to learn was pinch harmonics. Pinch haromnics are different then harmonics. Harmonics are easily made by putting a finger over a fret an hitting the string. A pinch harmonic is when the haromnic squels an vibrates. There are many ways of doing harmonics. The first is to place the pick by your thumb closely an to down stroke onto the string. This is one way guitarist have learned to do pinch harmonics. Another way of doing pinch harmonics is by placing your second finger (middle finger) on the top of the string gently an with your index finger an thumb still on the pick stroke the note. This is a easier way, to some. But not a good way to do pinch harmonics on the very bottom of the neck. An last you can simply try pinching the strings with your fings or with your finger an the pick.
Once youget comfertable with it, an you get the sound down try holding the strings down an bending one fastly an widely while executing the harmonic. This will form an offical pinch harmonic. These pinch harmonics are used all the time by various guitar players, steve vai, dime, zakk, every guitar player basically. How important is this? Not important at all really, only if your intrested in it. But I recommend learning it, it's fun. Well back to soloing.
Lets cover death metal and heavy metal soloing. a lot of death an heavy use odd an unused scales, or just strange scales. Here are some death an heavy ideas of soloing. (using normal picking/tremelo if you wish)
Example 1:
l----------------------------------8-11---l
l---------------------------7-10----------l
l---------------------8-11----------------l
l-------------7-10------------------------l
l-------6-9-------------------------------l
l--5-8------------------------------------l
l-----------------------------------------------------3h6p3p0--l
l-------------------------------------------03h6p3p0-----------l
l---------------------------------0-3-6-3-0--------------------l
l-----------------------0-3-6-3-0------------------------------l
l-------------0-3-6-3-0----------------------------------------l
l--0--3-6-3-0--------------------------------------------------l
T T T T T T
l---9p6p3p0--9p6p3p0-----------------------------------------l
l---------------------9p6p3p0--9p6p3p0-----------------------l
l---------------------------------------9p6p3p0--9p6p3p0-----l
l------------------------------------------------------------l
l------------------------------------------------------------l
l------------------------------------------------------------l
T T T
l------------------------------------l
l------------------------------------l
l------------------------------------l
l---9p6p3p0--------------------------l
l------------9p6p3p0-----------------l
l-----------------------9p6p3p0------l
T T T T T T
l---9p6p3p0--10p6p3p0-----------------------------------------l
l---------------------9p6p3p0--10p6p3p0-----------------------l
l---------------------------------------9p6p3p0--9p6p3p0-----l
l------------------------------------------------------------l
l------------------------------------------------------------l
l------------------------------------------------------------l
T T T
l-------------------------------------l
l-------------------------------------l
l-------------------------------------l
l---10p6p3p0--------------------------l
l------------10p6p3p0-----------------l
l-----------------------10p6p3p0------l
Example 2: Heres some use of tremelo an sweep
l-----------------------------------------------------------------l
l-----------------------------------------------------------------l
l------------------------------------------------------------14---l
l---=-------------------------12h13h15------------12h13h15--------l
l-12-----12h14h15--12h13h15-------------12h13h15------------------l
l-----10----------------------------------------------------------l
l-----------------------------------------14p11----------------------------l
l-----11h13p11-----11h13p11-------11h13----------15-13-11-----11h13---------l
l--14----------14-------------14---------------------------14-------14------l
l-----------------------------------------------------------------------15--l
l---------------------------------------------------------------------------l
l---------------------------------------------------------------------------l
Example 3: More tapping ideas.
T T T T T T
l----18p15h18--------------------------------------------------------l
l---------------17p14h17---------------------------------------------l
l-------------------------18p15h18-----------------------------------l
l-------------------------------------17p14h17-----------------------l
l-----------------------------------------------16p13h16-------------l
l---------------------------------------------------------18p12h15---l
Well that's it for this second I'll get some more later what I wanna talk about now is hte guitar itself. Sure you can do these scales but the mostimportant thing is knowin your guitar. That way you can make up your own stuff how do you do that? Well practice where you want an experiment with things.Even if it's out of tune practice with it. Get all aspects of the guitar. If by some chance you wanna know the notes of the guitar Well I just so happened to post them below. Take a look.
0 1 2 3 4 5 6 7 8 9 10 11 12
----------------------------------------------
E F F# G G# A A# B C C$ D D# R
B C C# D D# E F F# G G# A A# B
G G# A A# B C C# D D# E F F# G
D D# E F F# G G# A A# B C C# D
A A# B C C# D D# E F F# G G# A
E F F# G G# A A# B C C# D D# E
----------------------------------------------
As you can see the notes repeat. But one you get to the 12th fret, the whole guitar repeats. Everything listed here is from open strings to frets 1-12. Well frets 12-22 are the same thing. Just higher pitched. You don't have to know this entire neck but if you learned all of it you would be really happ. Get it memorized!
Sadly this is it for now I really don't have much time to finish but 'll make a part two I promise until then shred this out. Peace brothers.
Enhance Your Soloing
Preface
Surely you’ve read title as well as the introduction and you know what this lesson is about. But before we start I want you to know that I won’t give you the “solution” or “explanation”, for suggestion could change you experience and far more important, one assimilates things better, when finding the “solution” or “explanation” oneself. You are welcome to rate, comment and ask questions.
1. Dynamics
1.1. Theory
Dynamics are a really underrated tool for musical expression. Playing dynamically means, playing the notes at different volumes and creating a feel of "distance" of the notes. Most guitarists would try playing dynamically by hitting the strings harder or softer, but in my opinion there are two better ways to do so:
a) When playing with a pick, first try to hit the string with the very tip o f your pick and then playing every note with a little bit more of the pick, maintaining the same hitting intensity.
b) When finger picking, you should "push" the strings with your picking hand downwards to the sound hole, then angle your finger and let go. Depending on how far you pushed them down your volume will increase.
1.2. Exercise
e--------------------------
h------------6-5--3------
g------2-4-5-------------
D----2-------------------
A--0---------------------
E-------------------------
I want You to play this simple melody at a very low tempo and try to play each note at a different volume while observing, how the individual volumes change the feel of the whole construct. Then try to find "patterns"
Here are two ideas for patterns:
the "sunrise-method"-> start very quietly (morning), incrase volume until you reach the "b"(noon) and than turn quieter again again (evening)
the "tennis-method"->first note loud (ball been hit), second one quieter (when the ball hits the ground) and so on.
2. Rest
2.1. Theory
Everyone whose soli tend to sound very “scaleish” and “overplayed” should pay close attention to the following stuff. In music there are two kinds of rests:
a) not playing anything at all
This concept is very interesting, for in creates space. This, gives the audience time to assimilate what has been played or cause the listeners attention.
b) resting on a note
This again is a very interesting thought, because resting on a note allows ornamentation (vibrato, bending, thrills, glissando, harmonics…) and gives this note a special “meaning”.
2.2. Exercise
e--------------------------
h------------6-5--3-------
g------2-4-5--------------
D----2--------------------
A--0----------------------
E--------------------------
Play this once again but now leave out one note and rest on another for some time, while again observing how it changes the feel of the whole construct. Then start to ornament the note you are resting on by playing it e.g.: as a harmonic, with a thrill, with vibrato…..
3. Tone
3.1. Theory
Sound is produced by your gear (wood, amp, pickups…). Tone is similar, but it can be manipulated by ones play. This can happen by changing the position of play (distance to the neck) and angle of string hitting.
3.2. Exercise
e--------------------------
h---------------6-5-3-----
g--------2-4-5------------
D-----2-------------------
A--0----------------------
E--------------------------
Play this once again. Start picking next to the bridge, your hand, the tip or your pick showing to the neck. Change the angle of the pick When the tip of your pick shows to the bridge, it’s time to move on forwards to the neck and repeat this exercise. Oh, and observe how this changes the sound and feel of every note and the whole.
4. Rhythm
4.1. Theory
Rhythm may be music’s most hypnotic element. Rhythm can be made out of rhythmical figures. There are obvious ones like one quarter note, which can be replaced by two eight notes or four sixteenth notes… There are other figures that include:
a) one-beat figures
a dotted eight and a sixteenth note
a sixteenth note and a dotted eight
a one-beat syncope (sixteenth, eight, sixteenth)
eight and two sixteenth notes
two sixteenth notes and one eight
a one-beat triplet (three notes on one beat)
b) two-beat figures
two one-beat figures each
a dotted quarter note and a eight note
a eight note and a dotted quarter note
a two-beat syncope ( eight, quarter, eight/sixteenth, eight, eight, eight sixteenth….)
a quarter and two eights
two eights and a quarter
a two-beat triplet (three notes on two beats)
c) three-beat figures
rhree one-beat figures
one two-beat figure and one two-beat figure
a dotted half
a three beat syncope (dotted eight, dotted quarter, dotted eight/eight, quarter, quarter eight…)
d) Four-beat figures
two two-beat figures
four one-beat figures
a two-beat figure and two one-beat figures
……..
a dotted half note and a quarter note
a quarter note and a dotted half note
a four-beat syncope (quarter, half, quarter/ eight, quarter, quarter, quarter, eight….)
a half and two quarters
two quarters and a half
a four-beat triplet (three notes on four beats)
4.2. Exercise
e--------------------------
h---------------6-5-3-----
g--------2-4-5------------
D-----2-------------------
A--0----------------------
E--------------------------
Now I want you to take you metronome and play the figure above once again, always altering the rhythmical figures. (try as many as you can)
Now it’s time for the next level: play this figure and combine what you have learned and use your own melodies to do the same.
Figuring Out Where To Solo
When I first decided to become a lead guitarist, I had no idea what I was getting myself into. I thought that soloing was just randomly playing notes skrewn across that fretboard. But the truth is that there is a pattern to all of it and I now know that. (thank you guitar grimoire) (btw guitar grimoire is a great addition to any guitarists library) I want to teach you the major scale because if you know the major scale you also know the minors scale( relative minors rock! [ill delve into this concept in the lesson])
First Pattern
This first pattern is based on the root note on the top string. It's a great starting point when figuring out a scale. For my example I'll use the c major. In case you don't know, the 10 fret on the low e string is c so that's where we start
C major starting at root note C
/-------------------------------------------------------------10--12--14
/-------------------------------------------------10--12--13
/------------------------------------9--10--12
/ -----------------------9--10--12
/ ------------8--10--12
/(8)--10--12
The pattern looks like this
8 9 10 11 12 13 <--- ( indicate frets)
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ # 0 0
#: Root note
This pattern can be move to anywhere and is named by it's root note. For example lets move the pattern up two frets
D major starting at root note D
/-------------------------------------------------------------12--14--15
/-------------------------------------------------12--14--15
/-------------------------------------11--12--14
/ ------------------------11--12--14
/ ------------10--12--14
/(10)--12--14
The pattern still looks like this
10 11 12 13 14 15 <--- ( indicate frets)
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ # 0 0
#: Root note
What im trying to show is this pattern can be moved anywhere and is always named by its root note.
While this pattern is a great starting point due to how easy it is to identify, the stretch on the low e and a strings is slightly uncomfortable and reduces playing speed. Therefore I will show you another pattern that connects with it that is more confortable and can be played faster.
Second pattern
This pattern is contained within four frets and is adjacent to the first one.
First Pattern Second Pattern
/ 0 * * / * * 0
/ 0 * * / * * 0
/ 0 0 * / * 0
/ 0 0 * / * 0 0
/ 0 0 * / * 0 0
/ # 0 * / * 0 0
#:root note
*: where the two scales connect
As you can see the two scales connect. To show this on tab I will use the c major as my example
C major starting at root note C First Pattern
/-------------------------------------------------------------10--12--14
/-------------------------------------------------10--12--13
/------------------------------------9--10--12
/ -----------------------9--10--12
/ ------------8--10--12
/(8)--10--12
C major Second Pattern
/---------------------------------------------------------12--13--15
/---------------------------------------------12--13--15
/-------------------------------------12--14
/ ------------------------12--14--15
/ ------------12--14--15
/ 12--13--15
Second Pattern
12 13 14 15 <--- ( indicate frets) [yeah only four frets !!!]
/ * * 0
/ * * 0
/ * 0
/ * 0 0
/ * 0 0
/ * 0 0
First two patters combined
/ 0 * * 0
/ 0 * * 0
/ 0 0 * 0
/ 0 0 * 0 0
/ 0 0 * 0 0
/ # 0 * 0 0
Therefore if you were playing in G, (root note on third fret top string), it would look like this
3 4 5 6 7 8 9 10 <--- ( indicate frets)
/ 0 * * 0
/ 0 * * 0
/ 0 0 * 0
/ 0 0 * 0 0
/ 0 0 * 0 0
/ # 0 * 0 0
Once again, the patterns will never change.
Now what kind of instructor would I be if I stopped here? A crappy one that's for sure! As a result I want to add one more shape that really hammers it all home.
Third Pattern
The minor petatonic
/ 0 0
/ 0 0
/ 0 0
/ 0 0
/ 0 0
/ 0 0
But teacher how can you use a minor pentatonic in a major scale? Im glad you asked young grasshoper. lol
You see, minor scales are really just major scales in different keys.Every major scale has a relative minor
For example
C major G major D major
C D E F G (A) B G A B C D (E) F# D E F# G A (B) C#
A minor E minor B minor
A B C D E F G E F# G A B C D B C# D E F# G A
If you've noticed, it's always the sixth note in the scale. This relationship is called relative minor. Such as, A minor is the relative minor of C major, E is the relative minor of G major, B is the relave minor of D major, and so forth.
Now to show how these scales relate
Ex. A minor Penatonic
5 6 7 8 <--- (used to indicate frets)
/ 0 0
/ 0 0
/ 0 0
/ 0 0
/ 0 0
/ # *
# being the root note A
* being the note C
And that's where you begin to see it. The A minor pentatonic is in the key of C major. Therefore the minor pentatonic connects with the other scale shapes so far.
Heres how
/ 0 * * 0 0 0
/ 0 * * 0 0 0
/ 0 0 * 0 0 0
/ 0 0 * 0 0 0 0
/ 0 0 * 0 0 0 0
/ # 0 * 0 0 0 #
#: root note
*: Where shapes overlap
This is where the pentatonic really takes it home. As you can see we've bridged gone from one octive to the next on the top string, this means that now the patterns repeat. So you have basically covered the fretboard.
To review I want to show you a system you can use to find nearly all the usable notes for any scale.
For the example lets use the Key of G major
1.) find the note on the low e string
its on the 3rd fret
2.) Use first scale shape based on the first note
3 4 5 6 7 8 <--- (used to indicate frets)
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ # 0 0
3.) Add the second shape
3 4 5 6 7 8 9 10
/ 0 * * 0
/ 0 * * 0
/ 0 0 * 0
/ 0 0 * 0 0
/ 0 0 * 0 0
/ # 0 * 0 0
4.) Add third shape in order to reach next octive
3 4 5 6 7 8 9 10 11 12 13 14 15
/ 0 * * 0 0 0
/ 0 * * 0 0 0
/ 0 0 * 0 0 0
/ 0 0 * 0 0 0 0
/ 0 0 * 0 0 0 0
/ # 0 * 0 0 0 #
5.) Become aware of total fretboard. ( repeat pattern till you reach the end of the fretboard)
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
/ 0 * * 0 0 0 0 * * 0 0
/ 0 * * 0 0 0 0 * * 0 0
/ 0 0 * 0 0 0 0 0 * 0 0
/ 0 0 * 0 0 0 0 0 0 * 0 0 0
/ 0 0 * 0 0 0 0 0 0 * 0 0 0
/ # 0 * 0 0 0 # 0 * 0 0 0
6.) Fill in empty spaces using octives (in this case match up 12 fret - 14 fret to fill in frets 0-2)
opn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
/ 0 0 0 * * 0 0 0 0 * * 0 0
/ 0 0 0 * * 0 0 0 0 * * 0 0
/ 0 0 0 0 * 0 0 0 0 0 * 0
/ 0 0 0 0 * 0 0 0 0 0 0 * 0 0 0
/ 0 0 0 0 * 0 0 0 0 0 0 * 0 0 0
/ 0 # 0 * 0 0 0 # 0 * 0 0 0
7.) bam, you have nearly every single note! Have fun, because you know your stuff. (by the way, remember while this is a G major scale, due to relative minors it is also the E minor scale. How cool is that?)
While this may seem complicated at first for new guitarists trust me with time it will be second nature. Soon people will say E major and Bamm! You will know what notes to use instantly! Just work on it. I would like to mention that there are a few spots you will need to fill in when using these three patters. To show you I will use the G major
opn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
/ 0 * 0 0 0 0 0 0 * 0 0 0 0 0 0
/ 0 * 0 0 0 0 0 0 * 0 0 0 0 0 0
/ 0 0 0 0 0 0 * 0 0 0 0 0 0 *
/ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
/ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
/ 0 * # 0 0 0 0 0 * # 0 0 0 0 0
#: root note
*: missing notes
As you can see there are 8 spots that need to be filled in, but considering that only using 3 patterns you can nearly fill in the entire fretboard I'd say I'm satisfied. I'll be putting a video on my profile that gives a visual example of this soon so just check out my profile and I'll explain it visually. I hope you enjoy and btw remember Every Single Pattern Is Movable And It's Shape Never Changes! Ever!
To finish I will use my system again, but in a different key. For the example lets use the Key of F major
1.) Find the note on the low e string
it's on the 1st fret
2.) Use first scale shape based on the first note
1 2 3 4 5 6 <--- (used to indicate frets)
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ 0 0 0
/ # 0 0
3.) Add the second shape
1 2 3 4 5 6 7 8
/ 0 * * 0
/ 0 * * 0
/ 0 0 * 0
/ 0 0 * 0 0
/ 0 0 * 0 0
/ # 0 * 0 0
4.) Add third shape in order to reach next octive
1 2 3 4 5 6 7 8 9 10 11 12 13
/ 0 * * 0 0 0
/ 0 * * 0 0 0
/ 0 0 * 0 0 0
/ 0 0 * 0 0 0 0
/ 0 0 * 0 0 0 0
/ # 0 * 0 0 0 #
5.) Become aware of total fretboard. ( repeat pattern till you reach the end of the fretboard)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
/ 0 * * 0 0 0 0 * * 0 0
/ 0 * * 0 0 0 0 * * 0 0
/ 0 0 * 0 0 0 0 0 * 0 0
/ 0 0 * 0 0 0 0 0 0 * 0 0 0
/ 0 0 * 0 0 0 0 0 0 * 0 0 0
/ # 0 * 0 0 0 # 0 * 0 0 0
6.) Fill in empty spaces using octives ( in this case match up 11-12 frets to frets 23-24 and match up 12 to open)
Opn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
/ 0 0 * * 0 0 0 0 * * 0 0
/ 0 0 * * 0 0 0 0 * * 0 0
/ 0 0 0 * 0 0 0 0 0 * 0 0 0
/ 0 0 0 * 0 0 0 0 0 0 * 0 0 0 0
/ 0 0 0 * 0 0 0 0 0 0 * 0 0 0 0
/ # 0 * 0 0 0 # 0 * 0 0 0
7.) Fill in the spaces if you so desire
Opn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
/ * 0 0 0 0 0 0 * 0 0 0 0 0 0 *
/ 0 0 0 0 0 0 * 0 0 0 0 0 0 *
/ 0 0 0 0 0 * 0 0 0 0 0 0 * 0 0
/ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
/ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
/ * # 0 0 0 0 0 * # 0 0 0 0 0 *
8.) Now it's time to rock!
Remember Every Single Pattern Is Movable And it's Shape Never Changes! Ever!
Odd Note Groupings
A lot of players have problems with feeling odd note groupings and playing them in time. I'd like to share with you some of my tactics that will hopefully make the whole idea a little easier to understand and perform.
First of all - what exactly are odd note groupings? Simply - irregular groups of notes that are meant to be played in the space of a beat. For example, instead of playing regular sixteenth notes (4 notes per beat) to make it more fun you could play five or seven notes per beat (pentuplets & septuplets respectively). You could also play any other weird number of notes but groups of 5 & 7 seem to be the most common. It looks pretty simple on paper but in reality it is a little bit tricky to perform. The problem is that it feels far less natural to play an odd number of notes per beat, but as always, with a little practice, it's nothing you couldn't do.
1. This is a pentatonic pentuplet lick, Eric Johnson style:
e 8p5_____________________________________
b ____8p5___8p5___________________________
g ________7_____7p5___7p5_________________
d __________________7_____7p5___7p5_______
a ____________________________7_____7p5___
e ______________________________________8_
There are four groups of fives in this lick. The first note of each group should fall exactly on the "click" (yes, practising this without the metronome is pretty much useless). Notice there's just one five note pattern which is repeated within the minor pentatonic scale box.
2. A legato pentuplet run:
e _______________________________________
b _______________________________________
g ______________________________2h4p2h4h5
d ____________________2h4p2h4h5__________
a __________2h3p2h3h5____________________
e 2h3p2h3h5______________________________
______________________________5h7p5h7h8
____________________5h7p5h7h8__________
__________4h5p4h5h7____________________
4h5p4h5h7______________________________
_______________________________________
_______________________________________
Again, it's basicaly one pattern that gets repeated on every string. Try playing it descending as well.
3. Ever tried adding a tapped note to a sextuplet lick?
e 15p12p8h10h12p10p8_________________________________________________________
b ___________________15p12p8h10h12p10p8______________________________________
g ______________________________________14p12p9h11h12p11p9___________________
d _________________________________________________________14p12p9h10h12p10p9
a ___________________________________________________________________________
e ___________________________________________________________________________
t t t t
______________________
______________________
______________________
______________________
14p12p9h10h12p10p9____
__________________h12_
t
Seven notes per beat - one pattern. The faster you play it, the easier it gets - just focus on tapping the first note precisely on the beat.
4. Sweeping time! A six string septuplet minor arpeggio:
e __________________12_15p12_______________
b _______________12__________12____________
g ____________12________________12_________
d _________14______________________14______
a ______14____________________________14___
e 12h15__________________________________15
[---------7---------] [---------7---------]
This one's meant to be played in the space of two beats. Again, it feels easier played fast.
Give those licks a little of your practice time and you will soon discover that odd note groupings don't seem odd to you any longer.
Effective Soloing Techniques
I must apologise in advance for the large amount of writing, but I promise every word is worth reading.
I must stress to everyone who wishes to take these techniques seriously, and as stated many a time during my last lesson.
|----------------------------|
|----ACCURACY THEN SPEED!----|
|--Not The Other Way Around--|
|----------------------------|
Tapping
The first technique I'm going to tell you about is something you've probably all head about and seen, and thought "I've gotta learn to do that."
First I'll show you the basic tapping exercise (You won't need a pick for this). Put your first finger on fret 5 of the 'e' string and your third or forth finger on fret 8, it is your choice which finger goes on fret seven, if your little finger is strong enough use that, if not use your third finger. Use your first finger of your right hand on the 12th fret of the same string.
(This technique requires you to pull off and hammer on. If you are not sure what these two are then I suggest you find out before continuing with this lesson.)
e|---12p8p5---|
B|------------|
G|------------|
D|------------|
A|------------|
E|------------|
It doesn't look like much but that's where tapping for most guitarists start. Play that 8 times at a speed you are comfortable with, then gradually, at your own pace, start to speed up. At first it will sound a bit dodgy but stick with it, it'll be worth it in the end.
When you feel you have gotten that pretty good you can try this, which is not much harder at all, it literally involves adding one more note in.
You may have to use your little finger for this, unless you have a wide stretch with your left hand.
Keep your 1st finger of your left hand on fret 5 and your little finger on fret 8, but this time put your 3rd finger on fret 7, and do the exercise as shown below.
e|----12p8p7p5----|
B|----------------|
G|----------------|
D|----------------|
A|----------------|
E|----------------|
The next step is not adding in any more notes you'll be glad to hear. But this time you add in some hammer ons.
e|--12p8p7p5h7h8--|
B|----------------|
G|----------------|
D|----------------|
A|----------------|
E|----------------|
There you have the basics of tapping, the first technique. Getting tapping into a solo can be a tricky business which is why some guitarists use tapping for an entire solo or for a large portion of the solo eg. The Trooper by Iron Maiden.
Do not think that it is only at this fret you can tap like this, I am going to give you the frets which work well with each other for this tapping pattern. The '|' separates the positions. Do not mistake it for a '1'.
e|-8p4p1-|-9p5p2-|-10p6p3-|-11p7p4-|-12p8p5-|-13p9p6-|-14p10p7-|-15p11p8-|
Remember: these Positions Can Be Used On Every String, They Are Not Restricted To The E String.
For those of you who may be more advanced or anyone who wants a bit more of an interesting pattern here is another tapping exercise. It is taken from the intro to 'Roses For The Dead' by Funeral for a Friend.
It doesn't matter if you are not a fan because the into to this song is an amazing example of tapping.
All notes on the 12th and 11th fret are tapped with the right hand, all other notes are tapped with the left hand.
e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---9------9------9-12---9------9----------
A|-7------7------7------7------7------------
E|------------------------------------------
e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---9------9------9-12---9------9----------
A|-7------7------7------7------7------------
E|------------------------------------------
e|------------------------------------------
B|--------------------------12--------------
G|-----12-----11-------------------11/12----
D|---5------5------5-12---5------5----------
A|-3------3------3------3------3------------
E|------------------------------------------
e|------------------------------------------|
B|--------------------------12--------------|
G|-----12-----11-------------------11/12----|
D|---7------7------7-12---7------7----------|
A|-5------5------5------5------5------------|
E|------------------------------------------|
And that brings us to the end of the first Soloing Technique. It's a lengthy section but it's worth it. Experiment with it.
Sweep Picking Or Arpeggios
Welcome to the second Technique, a technique used by the most successful shredders of all time, Michael Angelo Batio, Zakk Wylde, James Hetfield, Kirk Hammett, Randy Rhoads, Darrel 'Dimebag' R.I.P and Slash.
I know that I'm not very good at sweeping but I do know the basics and some simple patterns.
Please be patient with sweeping as it is extremely difficult to get very fast at it quickly.
Lets start off with 2 string sweeping.
e|-----8-12--|
B|--10-------|
G|-----------|
D|-----------|
A|-----------|
E|-----------|
Looks simple hey, well it is, and 2 string sweep picking is the easiest form of sweeping. With sweeping it is important that you remember this, when sweeping a pattern that moves downwards, as the pattern above does, then your pick should be move only down as well. But, the last note must be an up pick. It is hard to explain in writing so if you do not understand you may need to find a video on Youtube of sweep picking.
For two string sweep picking you must remember, "Down, Down, Up." Practice the above until you can play it at a reasonably fast pace. When you can do that it's time to learn some other patterns and put a little solo together.
Try this using the same technique.
e|-----8-12-----8-12-----10-13----10-13----7-10----7-10------8-12----8-12--|
B|--10-------10-------12-------12--------9-------9--------10------10-------|
G|-------------------------------------------------------------------------|
D|-------------------------------------------------------------------------|
A|-------------------------------------------------------------------------|
E|-------------------------------------------------------------------------|
That is great fun when you can do it quickly so keep practising and maybe try changing the order around, just have fun.
3 String Sweep Picking.
Getting a little more advanced now, it isn't as easy to pick up as 2 string but practice makes perfect.
There is a slightly different picking pattern for this.
"Down, Down, Down, Up, Up, Up" Here is your first exercise.
e|------12-17p12------|
B|----13--------13----|
G|--14------------14--|
D|--------------------|
A|--------------------|
E|--------------------|
To make it sound right you must take your finger off the note after you have played it. Make sure that you play the 17 pulled off to the 12 it is an up stroke.
Start slowly and gradually build up speed.
When you can play this comfortably at a reasonably fast pace continue onto the next exercise.
e|------12-17p12----------10-15p10----------7-12p7----------10-15p10------|
B|----13--------13------11--------11------8--------8------11--------11----|
G|--14------------14--12------------12--9------------9--12------------12--|
D|------------------------------------------------------------------------|
A|------------------------------------------------------------------------|
E|------------------------------------------------------------------------|
When you can play that clearly and at a good speed, then and only then will you be ready for 5 string sweeping, so practice that until your fingers bleed.
5 String Sweep Picking.
Picking Pattern, "Down, Down, Down, Down, Down, Up, Up, Up, Up, Up, Down".
e|------------10-15p10------------|
B|----------11--------11----------|
G|--------12------------12--------|
D|------12----------------12------|
A|-10h13--------------------13-10-|
E|--------------------------------|
There is a different technique for this, on the D and G string you must use your third finger, but for this to work you have to make sure you can hit both notes with that one finger, you need to 'roll' your finger to get it smooth.
When you can do that, try this
e|------------10-15p10-----------------------12-17p12------------|
B|----------11--------11-------------------13--------13----------|
G|--------12------------12---------------14------------14--------|
D|------12----------------12-----------14----------------14------|
A|-10h13--------------------13-10-12h15--------------------15-12-|
E|---------------------------------------------------------------|
When you have that at a good fast speed keep practising until it sounds clean. Then you have sweep picking done!
I'm sorry it's taken so long to get all this down, but I hope it's helped and I look forward to your feedback.
All The Sweep Arppegios You'll Ever Need
What is a sweep arppegio?
Sweeping is an awesome technique that guitarists use to play arpeggios rapidly. When executed properly, a blazing sweep arpeggio sounds very lethal.
In order to sweep properly, it is going to require a lot of time and patience on your part. I will do my best to guide you down the path to becoming a sweep picking monster. Only with discipline, hard work, patience, and lots of practice will you be able to master this technique. So what are we waiting for? Let's get started.
Major Apeggios
First I am gonna teach you the major arppegio, the forumula in making a major arpeggio is 1, #3, 5. So if you were to play an a major arpeggio the notes would be A, C#, E. Or if you wanted to play a E major arpeggio the notes would be E, G#, B. Figure 1 shows an a nice way to play the A Major arppegio with the root on the a string.
S= Slide
h= hammer-on
p= pull-off
Figure 1
e--------9h12p9----------
b------10------10--------
g-----9----------9-------
d---11------------11-----
a-12----------------12---
e------------------------
Another way of playing the A major arppegio would be to play starting on the low e string. Figure 2 shows how you would do that.
Figure 2
e-----------9h12p---------------
b---------10-----10-------------
g------6s9---------9s6----------
d-----7---------------7---------
a----7-----------------7--------
e-5h9-------------------9p5-----
Now since you know how you could play the major arppegio starting on the E and A string what you can do is put them together. Figure 3 shows how you can play them together.
Figure 3
e-----------9h12p----------
b---------10-----10--------
g------6s9---------9-------
d-----7-------------11-----
a----7----------------12---
e-5h9----------------------
As long as you know that a major arppegio is made of 1, #3, 5 out of the key you are playing in you can create tons of your own patterns.
Major 7th arppegio
Now to get a bit more of a interesting sound of the major scale you coud add a 7th to the major arpeggio. So now the arppegio would be made of 1, #3, 5, 7. So the notes in A major would be A, C#, E, G. Figure 4 shows how to play a Major 7th arppegio in the Key of A.
Figure 4
e-----------9h12s15s12p9------------
b---------10------------10----------
g-----9h12----------------12p9------
d---11------------------------11----
a-12----------------------------12--
e-----------------------------------
Usually you probably wont end up using the major 7th arppegio all the time but it has a neat sound.
Minor arppegio
The Minor arppegio is made up of 1, 3, 5 so if you are playing a A minor arpeggio the notes would be A, C, E. The Minor arppegio is used a lot in rock/metal. Fiugre 5 shows the A Minor arppegio on the a string.
Figure 5
e--------8h12p8-----------
b------10------10---------
g-----9----------9--------
d---10------------10------
a-12----------------12----
e-------------------------
Now that you know the pattern starting on the a string now on figure 6 with be the A minor arppegio using all 6 strings.
Figure 6
e-----------8h12p9------------
b---------10------10----------
g------5s9----------9s5-------
d-----7----------------7------
a----7------------------7-----
e-5h8--------------------8p5--
Now that you know to patters on the a and e strings you can now put them together figure 7 shows how you can put the 2 arppegios together.
Figure 7
e-----------8h12p8----------
b---------10------10--------
g------5s9----------9-------
d-----7--------------10-----
a----7-----------------12---
e-5h8-----------------------
Sometimes yu can add notes to arppegios to give them an extra boost to the soud. Figure 8 shows a way you can do that using the a minor arppegio.
Figure 8
e--------8h11h12p11p8--------
b------10------------10------
g-----9----------------9-----
d---10------------------10---
a-12----------------------12-
e----------------------------
Once you get good at using sweep arpeggios you can start tapping notes in them. Figure 9 shows how you can do that. incase you don't know tapping is basically when you hammmer-on a note and then tap on the string with your right hand.
h=hammer-on
p=pull-off
t=tap
Figure 9
e--------8h12t17p8---------
b------10---------10-------
g-----9-------------9------
d---10---------------10----
a-12-------------------12--
e--------------------------
Diminished arpeggios
A diminished arppegio is a arpeggio that repeats itself every 3 frets. If you were playing an a diminished arpeggio you could play it starting on the 2nd fret, 5th, 8th, 11th, and so on. Usually the diminished arppegio is played using 3 strings. Figure 10 shows a way you could play the diminished arpeggio.
Figure 10
e-------8h11p8--------
b-----10------10------
g-8h11----------11p8--
d---------------------
a---------------------
e---------------------
A way that the diminished arpeggio is commonly played is showed in figure 11.
Figure 11
e------2h5s8p5-------5h8s11p8-----------
b----4--------7-----7--------10---------
g-2h5----------8p5h8-----------12p8-----
d---------------------------------------
a---------------------------------------
e---------------------------------------
Putting what you know together
Now that you know the diminished arpeggios, minor arppegios, major and major 7ths you can now put them all together. Figure 12 shows how you can do that using the a diminished and the a minor arpeggios and putting them together.
Figure 12
e------2h5s8p5-------5h8s11p8----------8h12p8--------
b----4--------7-----7--------10------10------10------
g-2h5----------8p5h8-----------12p8s9----------9-----
d-----------------------------------------------10---
a-------------------------------------------------12-
e----------------------------------------------------
Now you know pretty much all the useful arpeggios. Now it's your turn to come up with some of your own patters and ways of playing these arppegios. Hope you learned alot.
Harmonizing Your Leads
OK! First thing, harmonizing is when one guitar player plays something, and at the same time, another person plays the same thing, just on different frets.
Note: if you have the G1-FX pedal from ZOOM, you can do this by your self. If you don't know how e-mail me and I will tell you how.
Here is a lick you and some one else can practice.
Guitar 1
e|---------10-----------10-----------10-----------10---------------|
B|------------13p10--------13p10--------13p10--------13p10---------|
G|-----12b----------12b----------12b----------12b------------------|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|
Guitar 2
e|---------13-----------13-----------13-----------13---------------|
B|------------16p13--------16p13--------16p13--------16p13---------|
G|-----15b----------15b----------15b----------15b------------------|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|
If you didn't know, it's the opening to the first solo in Mr. Crowley Randy!
Now, if you want to harmonize some thing of your own, all you have to do is play it 3 steps higher or lower, or 5 steps higher or lower. If you are more advanced you can try this on different octaves, or just experiment with it.
Just as a note for all of the more advanced players, I always thought that harmonization always sounded good in the phrygian mode.
The songs "Blackened", and "Master of Puppets", by Metallica use harmonization, as well as "The Ripper", by Judas Priest, and "Dawn of the Angry", by Morbid Angel.
If no one will play with you, or you just a one guitar guy, here are some ways to harmonize you leads.
Note: this is the harmonized part from "Blackened" I'll just post the whole intro.
Tabbed by: Sief
e|---------------------------3--3-5-3--3-5-6-5-3-7-----3--3-5-3--3-5-6-5-3-2--|
B|--5--5-7-5--5-7-8-7-5-4-----5--5-7-5--5-7-8-7-5-4-----5--5-7-5--5-7-8-7-5-4-|
G|-------------------------------------------------------------------------4--|
D|----------------------------------------------------------------------------|
A|----------------------------------------------------------------------------|
E|----------------------------------------------------------------------------|
e|--15--15-17-15--15-17-18-17-15-14....|
B|--17--17-19-17--17-19-20-19-17-12....| fade out
G|-------------------------------------|
D|-------------------------------------|
A|-------------------------------------|
E|-------------------------------------|
e--...14-15-17-18-17-15--15-17-15--15--|
B--...12-17-19-20-19-17--17-19-17--17--|
G--------------------------------------|
D--------------------------------------|
A--------------------------------------|
E--------------------------------------|
e----2-3-5-6-5-3--3-5-3--3-----7-3-5-6-5-3--3-5-3--3----------------------------|
B--4-4-5-7-8-7-5--5-7-5--5-----4-5-7-8-7-5--5-7-5--5-----4-5-7-8-7-5--5-7-5--5--|
G--4---------------------------------------------------4------------------------|
D-------------------------------------------------------------------------------|
A-------------------------------------------------------------------------------|
E-------------------------------------------------------------------------------|
The most common form of harmonization, is in many songs, where the guitar plays one thing and the bass mirrors it.
Also, you can go by thirds to harmonize. So if something is in the key of E, you can play it in either, G, or B!
So, that's that! Enjoy!
Some Kind Of Soloing Tips In Eminor
Hi! In this lesson i will teach you about legato, tapping, sweep and other thing like that:
H=Hammer-on
P=Pull Of
B=bend
Rb=Release Bend
S=Slide
T=tapping
V=Vibrato
Legato:
This is a style the Iron Maiden guitarist Dave Murray use oft. He use this style in Aces High and Number of the beast solo and so on.
A exemple is how you can do on the G-sting. It is very easy it is only bend and hammer-on/pull off and slide. Try it slowly and late try it faster and faster. I take it in E-minor
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|16b--16Rb--14h16p14h16s12h14p12h14s11h12p11h12s9h11p9h11s7h9p7h9--9b---
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
B|-----------------------------------------------------------------------
G|-9Rb-2v---2h4p2h4-4h5p4h5-5h7p5h7-7h9p7h9-9h11p9h11-11h12p11h12-12h14p-
D|-----------------------------------------------------------------------
A|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------
E|-----------------------------------------------------------------------|
B|-----------------------------------------------------------------------|
G|-12h14-14h16p14h16-16h17p16h17-16---19-17-16-19-17-16-19b--19Rb--16----|
D|-----------------------------------------------------------------------|
A|-----------------------------------------------------------------------|
E|-----------------------------------------------------------------------|
Slide:
This is a lick by John Petrucci. It is also a lick you can mix with E-minor
E|----19-------17--------15-------14--------12--------10--------12-------|
B|-17----17S15-----15S13----13S12-----12S10-----10S8------8S10-----------|
G|-----------------------------------------------------------------------|
D|-----------------------------------------------------------------------|
A|-----------------------------------------------------------------------|
E|-----------------------------------------------------------------------|
String Skipping:
This is a few lick inspired by Paul Gilbert but it is also my idea. It is a string skipp you can do when you play in E-minor. If you put all licks togherher it can sounds cool.
Lick 1 Lick 2
E|---------------12------------------|--------------10-------------------|
B|-----------------------------------|-----------------------------------|
G|-----12-14-16-----16-14-12---------|----11-12-14-------14-12-11--------|
D|-14--------------------------14----|-12--------------------------------|
A|-----------------------------------|-----------------------------------|
E|-----------------------------------|-----------------------------------|
Lick 3 Lick 4
E|---------------15------------------|--------------17-------------------|
B|-----------------------------------|-----------------------------------|
G|-----14-16-17-----17-16-14---------|----16-17-19-------19-17-16--------|
D|-17--------------------------17----|-19--------------------------------|
A|-----------------------------------|-----------------------------------|
E|-----------------------------------|-----------------------------------|
Sweep:
This is E-minor sweep's. This licks are very good when you do soloing. If you mix this licks I think it came be awesome
Lick 1
E|-----------------------------------------------12-14-15-----|
B|--------------------------------------12-13-15--------------|
G|-----------------------------11-12-14-----------------------|
D|--------------------11-12-14--------------------------------|
A|-----------10-12-14-----------------------------------------|
E|--10-12-14--------------------------------------------------|
Lick 2
E|-----------------------------------------------14-15-17-----|
B|--------------------------------------13-15-17--------------|
G|-----------------------------12-14-16-----------------------|
D|--------------------12-14-16--------------------------------|
A|-----------12-14-15-----------------------------------------|
E|--12-14-15--------------------------------------------------|
Lick 3
E|-----------------------------------------------15-17-19-----|
B|--------------------------------------15-17-19--------------|
G|-----------------------------14-16-17-----------------------|
D|--------------------14-16-17--------------------------------|
A|-----------14-15-17-----------------------------------------|
E|--14-15-17--------------------------------------------------|
Lick 4(it is a mix of lick 1, 2 and 3 but you go diagonal on the fretboard)
E|-----------------------------------------------19-20-22-----|
B|--------------------------------------17-19-20--------------|
G|-----------------------------16-17-19-----------------------|
D|--------------------14-16-17--------------------------------|
A|-----------12-14-15-----------------------------------------|
E|--10-12-14--------------------------------------------------|
Tapping:
I will learn you open strings tapping in E-minor... It is very easy
T T T T T T T T T T
E|-12-0-8-10-0-7-8-0-5-7-0-3-5-0-2----------------------------------5-0-2-|
B|---------------------------------5-0-2-7-0-3-8-0-5-10-0-7-12-0-8--------|
G|------------------------------------------------------------------------|
D|------------------------------------------------------------------------|
A|------------------------------------------------------------------------|
E|------------------------------------------------------------------------|
Now will I learn something I call Double Pentonic in E. You mix E and A pentonic
T T T T T T T T T T T T
E|--20-15-17-12------------------------------------------------------------|
B|--------------20-15-17-12------------------------------------------------|
G|--------------------------19-14-17-12------------------------------------|
D|--------------------------------------19-14-17-12------------------------|
A|--------------------------------------------------19-14-17-12------------|
E|--------------------------------------------------------------20-15-17-12|
Short Apejo: in E-Minor
This is really hard for a beginner but also for me, but if you training every day I think you can play it clean and fast
E|--15-12----------12-14-10---------10-12-9---------9-10-7-------7-|
B|--------12----12----------10---10---------10---10--------8---8---|
G|-----------12----------------9---------------9-------------9-----|
D|-----------------------------------------------------------------|
A|-----------------------------------------------------------------|
E|-----------------------------------------------------------------|
E|--9-5-------5-7-3-------3-2-------2-3-0-----------|
B|------7---7-------5---5-----3---3-------0---------|
G|--------7-----------4---------2-----------0-------|
D|--------------------------------------------2-----|
A|----------------------------------------------2---|
E|------------------------------------------------0-|
And it was all for me. Sorry for my english (I can't write and speak english so well but I hope this lesson can help you) bye bye!
