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Here are various examples, licks, ideas for your study and most
of all have fun!
I really hope this stuff can inspire you and give you some useful ideas that you can slot
into your own playing. If you have any questions, comments or suggestions
regarding these lessons, please don't hesitate to contact me.
Lesson 1 : Scale Workout
Here is a simple ascending and descending scale exercise based on Amaj scale, played on three notes per string patterns. First practice vertically, in scale positions.Next, playing on two strings, move the sequence horizontally along the fretboard, up and down through different scale positions.This exercise works best if performed with alternate picking, but feel free to use economy picking , legato or a mixture .Try also applying to other scales. Start slowly and gradually build it up to speed. > DOWNLOAD POWERTAB
Lesson 2 : String Skipping Basic Idea
This is a variation of the previous sequence, using string skipping technique. This time we'll play the example on ascending and descending Gmaj patterns scale.Try experimenting with different ways: alternate picking,economy picking,legato,half and half and why not,you can also try to play it with hybrid picking, plucking with your middle finger nonadjacent strings. > DOWNLOAD POWERTAB
Lesson 3 : Rock Soloing
Here is an example that enables you to focus on particular aspects such as bends,vibrato, fretting hand control, note choice,solo approach.This solo is based on E Aeolian and E minor pentatonic except Bar 5 which includes one note (D#) as a chromatic passing tone and a bluesy double stop that use one note( C# ) from E Dorian.This example contains hammer-ons,pull-offs, legato lines, slides, arpeggios, right hand tapping to bend, melodic lines, double stops, pedal tone.Try also using artificial harmonics, tremolo bar and other nuances. Experiment with your own variation and feel. > DOWNLOAD POWERTAB
Lesson 4 : Superimposed Triads
Here we have an example that illustrates triad arpeggios superimposed over static min7 chord .This sequence is made up with four triads which are built from 1st, 4th.5th,7th degrees of the B Dorian mode,so we have some cool chord tones like 9th,11th and 13th.It sounds very interesting ! This example also incorporates sweep picking technique. Make sure to use this idea to make up your own lines. Experiment using different positions, sequences and keys. > DOWNLOAD POWERTAB
Lesson 5 : Spice Up Your Rock Progression
This example is based around E Aeolian and E Harmonic minor and shows how to make a simple chord progression sound more melodic and interesting using chord extensions,sus chords,open voicings, close and open voiced triad arpeggios, double stops. Try to explore these concepts and apply them to your own compositions. > DOWNLOAD POWERTAB
Lesson 6 : Adding Chromatics to the Blues Scale
This lick shows some chromatic descending lines based around the B blues scale. Notice the group of six note with four notes per beat timing, played on the first three beats of bar 1. I play this line combining alternate picking, legato and I also use hybrid picking in Bar 2, but feel free to experiment different approaches and see what works for you. > DOWNLOAD POWERTAB
Lesson 7 : Neo-classical Rock Vibe
This example should satisfy all you neoclassical shred junkies! Here we have a series of sweep-picked arpeggios combined with scale lines, based around D Aeolian and D Harmonic minor. This example also involves alternate picking, string skipping, legato and tapping. I would suggest practising this very slowly and in small sections. > DOWNLOAD POWERTAB
Lesson 8 : Tap & Skip
This is a good way of playing wide intervals combining two-handed tapping and string skipping techniques. I use middle, ring and little finger of the right hand holding the pick between the thumb and first finger.The line is based around a combination of fifths,fourths and thirds,using notes from the C# Aeolian scale, played over C#min7 chord. Notice the first three beats of the lick which shows each hand group of notes in minor sevenths. It utilizes hammer-ons from nowhere,pull-offs, bends.Try to focus on accuracy,timing and getting even volume from all the notes,using both hands to mute the strings. > DOWNLOAD POWERTAB
Lesson 9 : Melodic Minor Scale
Here is an example played over Amin(maj7)and Amin6 chord sequence,using notes from A Melodic Minor scale.This example utilizes legato, hybrid picking,tapping and string skipping techniques. It also includes chromatic lines and slides. > DOWNLOAD POWERTAB
Lesson 10 : Seven Heaven
Here we have an ascending and descending legato patterns that use seven note groups and position shifts,based on A Lydian scale.Try applying these lines to other scales. Use the metronome and try to target the first note of each group. > DOWNLOAD POWERTAB
Lesson 11 : Country Lick
This is a twangy country line in G which involves hybrid picking (using middle and ring fingers) and string skipping. This example includes some typical country-style elements such as approach to chord tones from half step below,open strings,hammer-on and pull-off, slide,double stop, bend. Make sure to practice slowly. > DOWNLOAD POWERTAB
Lesson 12 : Shred Bebop Feel
This example illustrates a bebop inspired line,based around A Mixolidian scale, which combines alternate picking, legato,sweep,string skipping,hybrid picking and tapping. It includes a lot of chromatic passing tones,slides, some arpeggios,bend. I would suggest practising slowly, breaking it down into a small sections. Try to experiment with your own playing. > DOWNLOAD POWERTAB
Lesson 13 : Melodic Line
This lick is reminiscent of Vito Bratta and Steve Vai and illustrates a combination of tapping notes and bending. First, pick the string then on the same string,tap with your right hand's middle finger. Next, holding the position of the right hand, motioning the bend with your left hand and release.It also includes hammer-on and pull-off. > DOWNLOAD POWERTAB
Lesson 14 : Combining different groups of notes
This example is based on C# Dorian and contains a combination of ascending septuplets and sextuplet .The lick concludes with some bends. You'll note that I play septuplet utilising a mixture of alternate picking and legato. I slur the first three notes of each seven- note group and I use alternate picking for the rest of notes, but as always, try to find your own approach.Pay attention to rhythmic and dynamic. Try also applying this idea to different scale positions and in other keys. > DOWNLOAD POWERTAB
Lesson 15 : Lydian Mode
Here are three examples based on C Lydian, played over static Cadd9 chord.
Example 1 uses hammer-ons,pull-offs, hybrid picking, legato lines,sweep,tapping and string skipping.Note a two octave Gmaj9 arpeggio's in the middle of Bar 1.
Example 2 is based on a fast shred legato/tapping line which also involves hybrid picking and string skipping. Notice Bar1 which uses B minor pentatonic.
Example 3 is basically a legato/tapping line which also incorporates hybrid picking and string skipping. Try to experiment these licks with your own variation. > DOWNLOAD POWERTAB
Lesson 16 : Chromatic Approach
This lick is based out of G Dorian scale plus some extra notes, used as passing tones.It contains sweep picked arpeggio,hammer-ons,pull-offs,slides, some string skips.Try using this example to make up your own lines. > DOWNLOAD POWERTAB
Lesson 17 : Shred Country-Fusion Lick
This example uses notes from B Dorian and B minor pentatonic and illustrates an interesting combination of some country-vibe phrases with chromatic legato lines, sweep picked extended arpeggios and position shifts.This lick involves hybrid picking and string skipping. Try to experiment with your own playing. > DOWNLOAD POWERTAB
Lesson 18 : Two Handed Tapping
This example shows a line(very reminiscent of T J Helmerich) based on E Aeolian scale, performed using eight-finger tapping technique. It utilizes a hammer-on from nowhere in the middle of the group of notes played by the right hand.The lick ends with a bend,when you're bending make sure holding the position of the right hand, motioning the bend with your left hand. This line is played over a chord progression,the result is pretty nice(I think). I would suggest to isolate each of the three octaves, and practice them individually.Try to focus on accuracy and getting an even volume from all the notes. > DOWNLOAD POWERTAB
Lesson 19 : Jazzy Line
This example is based around C Dorian scale with some chromatic passing tones . It includes hammer-ons and pull-offs, slides,sweep -picked arpeggios. Watch out for the rests in Bars 2 and 3,make sure you cut the notes off to keep the stops tight. > DOWNLOAD POWERTAB
Lesson 20 : Combining Rhythm & Lead Guitar
Here is an example that combines rhythm and lead guitar parts, based around D Aeolian except Bar 2 which contains a Dorian/Blues scale phrase and the final chord Ebmaj7sus2 from D Phrygian .This example utilizes D drop tuning and includes position shifts,some sliding octave shapes and tapping runs.In Bar 2 I use my middle finger but feel free to experiment different approaches. Try to focus on timing and dynamics. > DOWNLOAD POWERTAB
Lesson 21 : Funk that Noise!-Riff
In this lesson I’ll show you an excerpt taken from a track on my CD "Attracted to the Moon”.I based this riff around B minor pentatonic add major 6th and B blues scales.It includes hammer-ons,pull-offs,double stops,slides and bend.I use pick and middle finger and my left hand thumb for the low B in bars 1-3,but feel free to experiment different approaches.Have fun!> DOWNLOAD POWERTAB
Lesson 22 : Tapping arpeggio sequences
Here are two different tapping sequences played over the same chord progression in the key of C Major.
Triad Arpeggios used are: Cmaj-Amin-Fmaj-Gmaj. Root position played with the left hand and first inversion tapped with the right hand.
Example 1 is based on descending and ascending arpeggio sequence played in sixteenth notes, it also includes a sextuplet at the end of each measure.
Example 2 combines tapping arpeggio sequence with sextuplet legato pattern that uses notes from C Ionian.
I would suggest practising them slowly and evenly at first then gradually build up speed.Try to focus on accuracy,timing and getting even volume from all the notes,using both hands to mute the strings. Experiment with your own variation,using different positions and keys. > DOWNLOAD POWERTAB
Lesson 23 : Jumping Over
Here is the transcription of a video that I did a few years ago.This example is based on 3 note per string pattern- E minor pentatonic played as 16th notes,using string skipping technique.This idea is played over Emin7-Emin7/11-Cmaj7-Dsus9/6 chord progression.I used alternate picking,but feel free to experiment with different ways. Combining string skipping with economy picking,legato,half and half or hybrid picking,plucking with your middle finger nonadjacent strings,and see what works for you.I would suggest practising slowly, breaking it down into a small sections.Try to experiment using different positions, sequences and keys. This excerpt is taken from the heavy track on my first work "..At Last!",Hope you enjoy it! In this lesson I’ll show you some of the several ways in which pentatonic patterns can be combined and used throughout the entire range of fingerboard. Most metal riffs are based around palm muting lower pedal tones and bringing out melody through unmuted notes.The following examples combine the palm muting with unmuted notes using a mixing of diads and different types of chords.
> DOWNLOAD POWERTAB
TABLATURE: Run For Cover excerpt
Lesson 24 : Connecting Pentatonic Patterns
Example 1 Features a position shifting line,based around E minor pentatonic scale(the formula is 1-b3-4-5-b7,notes are E-G-A-B-D).The line shifts position sliding on the E and B string.Starting from open position the phrase traverses the top portions of the five box patterns of the scale.This idea is played over Em-D/E-Cmaj7-D/C-Amin7-Bmin7 chord progression.
Example 2 Combines three A major pentatonic patterns(the formula is 1-2-3-5-6,notes are A-B-C#E-F#) using sliding position shifts.The lick includes hammer-ons and pull-offs.Played over Asus2-F#m7add11-Dsus2add6-E5 chord progression.
Example 3 Another sliding position shift idea based on A major pentatonic but this time involves wider distance between the patterns.It includes bend,hammer-ons and pull-offs.This kind of lick reminds me of Steve Vai's playing
Example 4 Shows a combination of string skipping and position shifting based on A minor 6th Pentatonic(the formula is 1-b3-4-5-6,the notes are A-C-D-E-F#-).Chord progression:Amin7-Amin6.
Example 5 is based on F# minor pentatonic (F#-A-B-C#-E) and illustrates the scale patterns connected across the fretboard using position shifts and sliding.It includes hammer-ons,pull-offs and bend.This example is played over F#min7-C#min7-Cmin7(as passing chord)-Bmin7-C#min7-F#min7 chord progression.
I would suggest practising slowly, breaking it down into a small sections.The aim is to make your play fluid through the whole neck.Experiment with your own shifts and fingerings.Try applying these ideas to different pentatonic scales using different approaches. > DOWNLOAD POWERTAB
Lesson 25 : Metal Riffing
Example1.The riff is based on A Aeolian(except for G#5 used as chromatic passing chord and Eb5) and contains minor 6th ,perfect 5th and perfect 4th diads, palm muted pedal tone,chord inversion ,sus2 chord.It starts with a minor 6th diad in A,the 4th interval is then shifted onto the 5th.I used first and fourth fingers to form the minor 6th and 5th diads, barring my first finger over the 4th and 3th strings form the 4th diads .The diads are not palm muted and hit with a down stroke. This will help practice palm muting the pedal tone and not palm muting chords. Pay attention to the picking patterns and palm mutes.
Example 2.uses notes from E Aeolian and E harmonic minor scales. It involves alternate picked and palm muted pedal tone,major 3rd,perfect 4th,perfect 5th,minor 6th(B and G notes as G inversion)diads.
Example 3. This example is reminiscent of Power Metal style.It’s based on Gmin and includes single notes alternate picked and palm muted, perfect 5th,flat 5th,major 3rd diads,sus2 chords and dominant 7h chord. Practice these examples slowly at first,preferably with a metronome.Try to focus on timing and accuracy. > DOWNLOAD POWERTAB
This excerpt is taken from the heavy track on my first work "..At Last!",Hope you enjoy it!
In this lesson I’ll show you some of the several ways in which pentatonic patterns can be combined and used throughout the entire range of fingerboard.
Most metal riffs are based around palm muting lower pedal tones and bringing out melody through unmuted notes.The following examples combine the palm muting with unmuted notes using a mixing of diads and different types of chords.
Lesson 26 : Funky Stuff
This example is based on A Dorian mode and combines chords,scratched muted 16th notes,single note lines,slides,open strings,double stops.The right hand is constantly moving in time with the music(one stroke for each 16th note subdivision)Try to keep your arm and wrist loose.The left hand controls the articulation of the notes and chords being played.The rhythm pattern,percussive scratches and duration of the note are controlled by damping or depressing the chord with the left hand on the neck.Notice the country vibe line on the second half of bar 3 and 7 that involves hybrid picking technique.Pay attention to the percussive 16th note triplets in Bar 5.Pratice this example with a metronome. > DOWNLOAD POWERTAB
Lesson 27 : Sweep Picking Sequence
Here we have a barrage of arpeggios with a neoclassical flavour .This example is based on F# Harmonic minor scale and combines ascending and descending sweep picked arpeggios using position shifting.Note the C note used as passing tone leading to C# arpeggio on the second half of bar1.There are some occasions during the example,when consecutive notes are played using the same finger.These segments require to employ a “double stop roll”.This technique entails laying one of the fingers of the left hand across the top of all of the different strings that need to be played,and then playing each one individually redistributing the weight of the finger as you shift from note to note.Try also using right hand palm muting throughout,but don’t exaggerated.Only a partial mute is required when sweep picking arpeggios,just enough to stop the notes ringing into each other. I would suggest practising slowly, breaking it down into a small sections,paying attention to the pick strokes given. > DOWNLOAD POWERTAB
Lesson 28 : 7/4 Riff
Here is a Progressive Rock style rhythm work.The first section is based around E Aeolian scale add 6.It includes Esus2 arpeggio,open voiced C and D first inversion triad arpeggios ,descending scale pattern.Note the accent that occur at distance of six 16th notes in bar 2.The second section uses a syncopated double stop (4th interval C-F) played over Bb - A bass line notes (Bb Lydian mode.Try to focus on accuracy and timing.
Lesson 29 : Sleepover excerpt
This section is taken from a track of “Attracted to the Moon”. Bar 2 and 4 feature a combination of tapping and string skipping based around D Mixolydian,(but for a bluesy feel,a minor third has been added as well as major third),and conclude with a sliding sixth double stop.Bar 3 uses notes from A mixolydian(Eb-C notes as passing tones) and includes sliding sixths and minor thirds,I used hybrid picking(pick and middle finger).Bar 5 incorporates a Bmin7 tapping sequence arpeggio and a sweep picked E major inversions triad arpeggio.Bar 6 features a lick based on C# minor pentatonic and includes bends.Bar 7 illustrates a D9 arpeggio,to create a more interesting melodic contour,I used an angular interval pattern, involving string skipping and hybrid picking techniques.The section concludes with D blues scale line and tritone double stop. I would suggest practising slowly, breaking it down into a small sections.Try to focus on accuracy and timing. > DOWNLOAD POWERTAB
Lesson 30 : P.J.M.-Exploring the Diminished scale
This example is based around E diminished Whole-half scale (with added notes used as passing tones)harmonized up a minor third .The intervallic structure of this scale alternates between a whole and half step,creating a eight note per octave symmetric scale.(The formula is 1-2-b3-4-b5-b6-6-7 ). Notice the Eb(or D#) minor triad arpeggio on the second half of bar 1.Bar 4 includes hammer-on and pull-off, open high E string,sliding position,it involves string skipping and hybrid picking techniques.The example concludes with a chord sequence. Take care with the time signature changes between 4/4 and 3/4. Try to focus on accuracy and timing. > DOWNLOAD POWERTAB