I hope you will enjoy the video:
http://www.youtube.com/watch?v=HokDIhT7Hxc

This section is in the key of G# minor, with lots of chromatic passing tones.


You can download the TAB and the backing track here:
http://www.4shared.com/file/236442129/997c2603/Golden_Sun_chromatic_passage.html

I am really into death metal and i have been trying to come up with good riffs and I just cant get any riffs that i really like.I am tuned low so i have that factor. Can you guys give me some help as to sounding better when it comes to death metal.

Some popular scales with death

hey folks,

here i have an import question regarding How to properly store a couple of pickups that are not going to be used in some time.

I recently removed my stock pickups from my Soltero and replaced them with a ZW set of EMG's.

The removed pickups are the Dean Lesli West pickups that i will save for my next guitar...no idea when is gonna happen so i will
have to store em properly.

We have lots of humidity were i live.

I Thanks you

***DISCLAIMER***
*** I may or may not have any idea what i'm talking about***

there was some discussion in the tiki the other night about constructing your own sweep arpeggios, so i thought i'd give a shot at teaching you what (little) i know. this is the first lesson i've ever attempted so bear with me.

this lesson is more about what to play than how to play it. the importance of practicing these techniques has already been beaten to death around here

for ease, i'll stick with the E minor scale for this whole lesson.
the notes in this scale are:
E F# G A B C D

most sweep arpeggios are based on basic triad chords and their construction is fairly simple. just use every other note

Em would be
E G B

F#dim would be
F# A B

G Major
G B D

do you see the pattern? just using every other note to get a three note chord that fits in the key you're in

it's always best to start small. in this case, 3 string sweeps
here's one i use a lot. it's just an Em arpeggio (E G B are the only notes used)


l---------7h12p7-----------------------------------------l
l------8----------8---------------------------------------l
l---9---------------9-------------------------------------l
l----------------------------------------------------------l
l----------------------------------------------------------l
l----------------------------------------------------------l

start slowly and practice (ideally with a metronome) until you can play this fluidly and sound every note clearly.

here's a run based on inverted chords (the root is not the lowest note) but still only using 3 note chords



.............. Em ................................ D

l----------15h19p15------------------14h17p14---------l
l------17-------------17----------15------------15------l
l--16---------------------16--14--------------------14--l
l----------------------------------------------------------l
l----------------------------------------------------------l
l----------------------------------------------------------l


............... C ............................. D

l---------12h15p12------------------14h17p14----------l
l-----13-------------13----------15------------15-------l
l-12---------------------12--14--------------------14---l
l----------------------------------------------------------l
l----------------------------------------------------------l
l----------------------------------------------------------l


i find the easiest way to play 5 string sweeps is to think in terms of triad chord shapes.

....Em ..... D ...... C
l----------------------------------------------------------l
l----------------------------------------------------------l
l--16------14------12------------------------------------l
l--17------16------14----------------------------------l
l--19------17------15----------------------------------l
l---------------------------------------------------------l

as you can see you just add these shapes to the run i just showed you

Em

l-----------------15h19p15-------------------------------l
l-------------17-------------17---------------------------l
l---------16---------------------16-----------------------l
l-----17-----------------------------17-------------------
l-19-------------------------------------19---------------
l----------------------------------------------------------l


D

l------------------14h17p14--------------------------------------l
l--------------15------------15--------------------------------l
l----------14-------------------14-----------------------------l
l------16--------------------------16-------------------------l
l--17---------------------------------17-----------------------l
l----------------------------------------------------------l

these are the shapes for major and minor arpeggios and can be moved up and down the neck just like a regular chord.

as an added bonus heres the shape for the F# diminished (f# is the oddball in the Em key)

l----------5h8p5----------------------------------------------l
l--------7------- 7------------------------------------------l
l------5------------5----------------------------------------l
l----7----------------7--------------------------------------l
l--9--------------------9------------------------------------l
l----------------------------------------------------------l



you can also base arpeggios on barre chord shapes

Em .................................................... G

l---------7h12p7-------------------------10h15p10--------------l
l-------8---------8--------------------12-----------12-----------l
l-----9-------------9---------------12-----------------12--------l
l---9-----------------9----------12-----------------------12-----l
l-7---------------------7-----10-----------------------------10--l
l------------------------------------------------------------------l

I like to add a 7th to these shapes. constructing a 7th chord is just like constructing a major or minor except you add one more note using the skip every other note in the scale method i talked about earlier. this can also negate the big stretch on the high string.

something like this

Em7 ........................... or

l-----------7h10p7---------------------7h10p7---------l
l---------8---------8------------------8---------8-------l
l-------9------------9----------------7-----------7------l
l------9---------------9-------------9-------------9-----l
l-7h10-----------------10-----7h10----------------10--l
l----------------------------------------------------------l


G7 .................................. or

l-------------10h14p10----------------------10h14p10--------l
l-----------12---------12-------------------12---------12------l
l---------12-------------12---------------11-------------11----l
l-------12-----------------12-----------12-----------------12--l
l-10h13--------------------10----10h13---------------------10l
l-----------------------------------------------------------------l


when playing the consecutive notes on the 12th fret, 'roll' your finger (from tip to pad) down the strings to kill the notes after they sound, you're not wanting to let the notes ring.

by no means are these the only way to do sweeps, but they are pretty ubiquitous, and now you may have a little better idea of how to come up with your own stuff


Which shapes to use and still be in key

E F# G A B C D
m dim M m m M M

this pattern works in any minor key and the same chords work in the relative major

Am key would be

A Bdim C Dm Em F G




I make no claim to be great at sweep picking or music theory, and there are many people on here that are better players, know more theory, and are better teachers, but hopefully some of you find this useful.

if anybody finds any mistakes, please let me know.

Hi All,

I'm confused. This might be simple, and thus a stupid question, but I've never been formally taught and this just caught me out.

I noticed this sort of thing in tab books:


C#5

-----------9--------------------------------------------
---12^------12p9-10p9-------9--------------------
-----------------------------12-----12p9------------
-------------------------------------------------------
-------------------------------------------------------
-------------------------------------------------------

What I'm confused by the C#5 above the measure. Does this refer to the backing chord, or the scale that the lick is based on? How do you break up a lick like that and determine that it does indeed fit with the backing chords?

My inability to understand this sort of thing probably explains why I can play solos and not write them. I always get the feeling this is really obvious to other musicians yet I am totally baffled.

Dos anyone have a tab of guitar pro tab for %$#@! you from damageplan??

thnx

Does anyone out there have a transposed list of Lyrics with Chords or Tab for Lucretia MacEvil by Blood Sweat and Tears. I have looked all over for a TAB or just the Chord progression for this song. If you know where I can download one or have one you can email me I would greatly appreciate it.

Bob

Hey everyone, hope all is well!

Gonna cut to the chase:

I dont know any theory atall, i started guitar because i wanted a pass time. I grew dependant on using tabs and general goofing around. I have been playing for 3 years or so, and i can play loads of songs and solo's etc. AS LONG AS I HAVE A TAB

Now i am wanting to learn theory, a few years ago i learned a few scales, but i used them purely as a playing exercise and to develop my alternate picking etc. I also know several chords etc. etc.


Thing is, i have never had a guitar lesson in my life, i have never had a music lesson in my life. I want to self teach myself theory as lessons are not a luxury that i can afford right now (never mind a Dean ). So im wondering if any of you guys here can give me some tips, websites or books that i should be looking at? And what all topics should i be looking into? Start off with..... etc.


Thanks guys/gal's
Baz

The past few weeks, I have been on a mission to be the best I can be with what I have. So, I have tried various things. I have singled out certain techniques to attempt to improve at. I have learned new songs. BUT, the most effective thing I have done for my playing is...*drumroll*...writing music! I don't know what it is. I feel that by writing my own stuff and figuring out how to use certain techniques in a way that fits my playing and writing, I have gotten better at it. I have also gotten better at writing songs. That is a given. The moral of my story, in my opinion, if you want to better yourself as a player, writer, and overall musician...write. I am positive there are other ways but I feel this has been the most effective way for me.

Hi.

Got myself a Laney GH 100 TI half stack as a trade and I'm trying to use its slave feature, but I have trouble doing it.

Basically what I want to do:

Guitar->engl E 530->Laney slave in for Power amp -> Cab. (that's the simple version, once that works I have something else to do with it.

I have a multi effect in the preamp effects loop and it registers the guitar level. Seems ok up to there.

Had the preamp perfectly working so far plugged in my sound card, only difference is I'm using a mono jack while I used stereo ones.

There is this in the manual:

"If you are using the amp to drive just
one speaker cabinet, connect only one stereo channel via a 1/4" stereo plug. A mono
1/4" plug will short-circuit the poweramp's second channel. If you operate the amp
under these conditions at high volumes for a longer period of time, this may destroy
the amp or other components!"

What do they mean by "just one speaker cab?" I'd try with a stereo cable, the issue is, all the stereo cable I have is very short and not long enough to do the rack->head distance. Could this be the issue ?

Ok I am a frackin Metallica freak, and I am currently working on learning MASTER OF PUPPETS...I have the tab book for the album and the main parts of the song memorized up until the chorus..only problem is that the song is 220 bpm and i cant move my picking hand that fast in sync with my fingering hand....Any tips, personal warm-ups/practicing practices that you guys would recommend? As of right now, I have no warm up routine or any thing, I just pickup my Dime-O-Flage and start playing...Thanx All

http://www.ultimate-guitar.com/tabs/w/whitechapel/the_somatic_defilement_ver2_guitar_pro.htm

It starts at measure 100
Can anybody help?
I can do it really slow, but once I go alittle faster, my picking hand messes up.

Thanks,
Justin

hey guys i was wondering if use can help me on some tab help im stuck on a part on this lick i cant get. its the third video where kirk is doing his thing between 17 and 21 seconds http://www.guitarworld.com/down_lesson if some one could tab that for i would reallly appreciate it im in c# tuning

Headline says all. I can't read a single note and I'm using tabs when I write - or read music.

Any good sites or tutorial videos that could teach me the "big deal" about real notes?
I really want to eliminate this lack of knowledge.

Cheers.

Ok, so, I have been reading the threads from WACUN and such. They, to me, seem to be centered around "shred" like Yngwie and Vai type stuff. Well, there are a lot of us on here that like that stuff but also like the heavy stuff! I happen to be one of those death metal fans. Well, I have been wanting a thread that helps teach me and others how to write, play, and understand this style better. So, I thought that starting a thread based on this style would help out others, including myself. So, if you have any knowledge on this, post it up! And by knowledge, I mean, How to write it, what goes into a good song to make it flow, how different things flow with each other. Basically, a how-to-write thread!
Post away!

... by the biggest dummy..

This is for those of you who feel you know absolutely nothing about music theory. There is already some great stuff in this thread http://www.deanguitars.com/forum/viewtopic.php?t=49424, but I thought I'd try to go though the most basic stuff and then go from there (I'm gonna have to take a couple of peeks in my books ).

Here goes..

So you might have heard that there are 12 notes in (western) music. They are:
C
C# or Db
D
D# or Eb
E
F
F# or Gb
G
G# or Ab
A
A# or Bb
B
(and then back to C).

#= sharp
b= flat

(Notice that there are not sharps and flats between E and F and B and C)

The "interval" in between any two consecutive notes is called one semitone. So for example C - Db is one semitone. Two semitones add up to one "tone".

Alright, I think we're ready to start looking at a scale. Let's start with C major (huge surprise, I know..).

So the C major scale goes like this: C - D - E - F - G - A - B - C
Notice that there are no sharps or flats? Kinda hard to miss. Anyway, that's why the C major scale is such a good example to start out with. (Also note that all of the seven letters were used!)

Let's take a look at the intervals. We have one tone between almost all the notes. The exceptions are E and F and B and C, which are separated by one semitone. With that we can create a sort of formula of how to write any major scale. So with 2 representing a tone and 1 a semitone our formula would look like this: 2 - 2 - 1 - 2 - 2 - 2 - 1

We now have all we need to write any major scale down: We know the intervals between all the 12 notes (right? ), we have our little formula and we know that we must use all the seven letters.

So let's give it a shot to write for example the A major scale.

That means A is gonna be our first letter, followed by B, C, D, E, F, G and then A again.

OK:
A, then one tone which takes us to B. The next letter is C, but remember; the interval between B and C is just a semitone and for our major scale we need to have a tone. That means we have to raise our C one semitone to C#. Our next letter is D and the interval according to our formula should be one semitone. How convenient that our C i raised exactly one semitone! Think you can figure out the rest by yourselves?

Here's the complete scale: A - B - C# - D - E - F# - G# - A

Alright, I'm gonna have to a continue this another time, it's 3am over here and I'm getting dumber by the minute.
Any questions? Post 'em up and I'll try to answer them. I'm sure some of our other forum smartasses will help those of you who need it as well.

Oh, if anyone notices a mistake, please point it out so I can edit the crap out of it!

Phil

... by the biggest dummy..

This is for those of you who feel you know absolutely nothing about music theory. There is already some great stuff in this thread http://www.deanguitars.com/forum/viewtopic.php?t=49424, but I thought I'd try to go though the most basic stuff and then go from there (I'm gonna have to take a couple of peeks in my books ).

Here goes..

So you might have heard that there are 12 notes in (western) music. They are:
C
C# or Db
D
D# or Eb
E
F
F# or Gb
G
G# or Ab
A
A# or Bb
B
(and then back to C).

#= sharp
b= flat

(Notice that there are not sharps and flats between E and F and B and C)

The "interval" in between any two consecutive notes is called one semitone. So for example C - Db is one semitone. Two semitones add up to one "tone".

Alright, I think we're ready to start looking at a scale. Let's start with C major (huge surprise, I know..).

So the C major scale goes like this: C - D - E - F - G - A - B - C
Notice that there are no sharps or flats? Kinda hard to miss. Anyway, that's why the C major scale is such a good example to start out with. (Also note that all of the seven letters were used!)

Let's take a look at the intervals. We have one tone between almost all the notes. The exceptions are E and F and B and C, which are separated by one semitone. With that we can create a sort of formula of how to write any major scale. So with 2 representing a tone and 1 a semitone our formula would look like this: 2 - 2 - 1 - 2 - 2 - 2 - 1

We now have all we need to write any major scale down: We know the intervals between all the 12 notes (right? ), we have our little formula and we know that we must use all the seven letters.

So let's give it a shot to write for example the A major scale.

That means A is gonna be our first letter, followed by B, C, D, E, F, G and then A again.

OK:
A, then one tone which takes us to B. The next letter is C, but remember; the interval between B and C is just a semitone and for our major scale we need to have a tone. That means we have to raise our C one semitone to C#. Our next letter is D and the interval according to our formula should be one semitone. How convenient that our C i raised exactly one semitone! Think you can figure out the rest by yourselves?

Here's the complete scale: A - B - C# - D - E - F# - G# - A

Alright, I'm gonna have to a continue this another time, it's 3am over here and I'm getting dumber by the minute.
Any questions? Post 'em up and I'll try to answer them. I'm sure some of our other forum smartasses will help those of you who need it as well.

Phil

I've always written it

F#, G#, A#, B, C#, D#, F

and i read somewhere recently that you don't use the same letter twice (F and F#) in writing a major scale

going for Gb doesnt work either because you end up with Bb and B

would the correct way be to use E# or Cb?

I know it doesnt really matter, but im curious

http://www.youtube.com/watch?v=2UtaTz1fShY
Here it is. Was recorded in a hurry, with a crappy webcam mic with audacity. Hopefully it gives you, the people reading this, an impression of how it works to thicken your sound. I get out of time a few times, but nontheless, good enough.

I've been (slowly) trying to learn theory but modes have eluded me. This seems to make sense

http://www.youtube.com/watch?v=JKbPIGnqt80&feature=fvw

What are some good exercises for warming up?

Seems that I can't function properly until I get to the 2nd set. I'm not playing bad in the 1st set, but I don't find my "zone" or groove until the 2nd set.

I"m looking for ideas, chromatic runs, finger stretching exercises, dexterity building exercises, synchronizing pick and fret hands.

What you got?

So one of my friends asked me a few weeks ago if I could give him a few lessons on playing acoustic. I'm not the most experienced guy on acoustic (about two years, have been playing electric for about 6 years), but I can hold my own.

What is the best way to start? I started by showing him a few basic chords, G, D, C, A, B. Also a few ways to hold the pick. I'm not sure if this is the right way to go about it, or if I should first teach him the fretboard so he knows what each note is and where the chord comes from? I know what I want to do, but I don't know the right way to make someone else do it.

Whoever has taught before, I could use some help.

I think this would be a good idea to post anything that you think might help someone out or post a cool lick

Opening Riff
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|------------------4/5-------------------------------------------------
|------------------2/3-5--3-------------3------------3--------------
|--0-0-0-0-0-0-------3--1--0-0-0-0-1--0-0-0-0-1--------------
Riff 2- seasick riff
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------4/9-9\5-5/10-10\6--6/11--7-3-----------------
|-0-0-0-0-0-0-2/7-7\3-3/8----8\4---4/9---5-1------------------
Riff 3-Verse Riff
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-------------7/8-----------------------------------------------------
|-------------5/6--8-7-------------4-------------6------------------
|-3-3-3-3-3------6-5---3-3-3-3-2--3-3-3-3-4------------------
Ending for Verse Riff
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------4------------3---------------------------------------------
|-3-3-3-3-2-2-2-2-2-1----------------------------------------------
Riff 4: Slaughtered!!!!!
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-2-2-2-2--4/9-9\5-5-11-10\6-6/11--7-3-----------------------
|-0-0-0-0--2/7-7\3-3/8----8\4-4/9----5-1-----------------------
Riff 5
|------------------------------------------------------------------------------
|------------------------------------------------------------------------------
|----------------------6----6---6----6-6------------------------------------
|----------------------5----5---5----5-5------------------------------------
|----------------------4----4---4----4-4------------------------------------
|-000000000000--3-0-3-0-3-0-3-3------------------------------------
Riff 6
|-------0------------(12)-----------------------------------------------
|-------0------------(12)-----------------------------------------------
|--------------------(12)---4--4-----------------------------------------
|-2--------------2----------4--4------------------------------------------
|-2--------------2----------2--2------------------------------------------
|-0--------------0----------2--2------------------------------------------

Riff 7- Slide the the 7th, 8th, and 9th frets
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-------------------------------------------------------------4-4------
|-------------------------------------------------------------4-4------
|-2-2-2-2----2-2-2-2-2------2-2-2-2-2-----2-2-2-2--2-2------
|-0-0-0-0/7-0-0-0-0-0-/8---0-0-0-0-0-/9-0-0-0-0--2-2------

|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|----3----4----2-----3-------------------------------------------------
|---------------------------3----4----2----3-----------2----3----------
|-1----1-----1----1----1----1----1----1---0-0-1-1----1-------------

|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------
|---------------------------------------------------------4-4------------4--4-----
|---3----4----2----3------------------------------------4-4------------4--4-----
|-------------------------3-----4-----2----3------------2-2------------2--2-----
|-1---1----1----1----1-----1----1-----1----0-0-0-0-2-2---x-x-x-x-2--2-----

\/\/\/\/-whamy bar dump and release/heavy vibrato

/-slide
/
/--- whammy tricks
/
|-----------------------------------------------------------------------
|--------------------------12\/\/\/------------------------------------
|--12\/\/\/---12\/\/\/---12\/\/\/---12~~~-----------------------
|--15\/\/\/---14\/\/\/------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------

|---------------------------------------/15~~~----------------------
|--------------------------12\/\/\/------------------------------------
|--12\/\/\/---12\/\/\/---12\/\/\/---/12~~~-----------------------
|--15\/\/\/---14\/\/\/------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------


|-----------------------------------------------------------------------
|----------------------------15-18-----15-18-----------------------
|-----15-18----15-18------------18---------18--------------------
|--17--------17--------17-------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------


|-15h18h19---------------15h18h19--------------15h18h19--------------
|---------------19p18p15--------------19p18p15---------------19p18p15
|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------

|-----------------------------------------------------------------------
|------------------------------------------------------------------------
|--15h18p17p15h19p18p15h18p17p15h19p18p15--16b17
|------------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------

|------------------------------------------------------------------------------------
|-----------15-18------------------------------------------------------------------
|--16b17----------17~~-12h14p12\---12h14p12\--12h14p12\----12~
|------------------------------------------\----------------\---------------\--------
|-------------------------------------------\----------------\----------------\------
|------------------------------------------------------------------------------------

|-----------------------------------------------------------------------
|----------15----------15------------15------------------------------
|-14b15-----14b15------14b15------14b15rb14----------------
|------------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------


|-14-15-17-15-14------15-14-----14------------------------------------------
|----------------------17----------17-----17-15-14-17-15-14----15-14-----
|--------------------------------------------------------------------17-------------
|------------------------------------------------------------------------------------
|------------------------------------------------------------------------------------
|------------------------------------------------------------------------------------

|-----------------------------------------------------------------------------
|------14---------------20b~19-20-20-19~-20b~19-20-20-19-~~
|--17----17-15-14--------------------------------------------------------
|-----------------------------------------------------------------------------
|-----------------------------------------------------------------------------
|-----------------------------------------------------------------------------

|-----------------------------------------------------------------------
|-12-0-12-0-12-13-0-12-0-12-0-12-13------------------------
|-12-0-12-0-12-13-0-12-0-12-0-12-13------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------

HOLD BENDS WHILE TREMOLO PICKING ACCORDING TO CD
|-20b22-20-20-20-20-20b22-20-20-20-20-20b22-15h19p15---------
|---------------------------------------------------------------------------16b18
|-----------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------

|--12-----------12-----------12------------12--------------------------------
|------15b17------15b17-------15b17--------15b17---------------------
|---------------------------------------------------------------------------------
|---------------------------------------------------------------------------------
|---------------------------------------------------------------------------------
|---------------------------------------------------------------------------------


|-12-14-15p14p12-----14p12---------------------------------------------
|-----------------------15------------15-14-12-15-14-12-----14-12------
|---------------------------------------------------------------15---------------
|---------------------------------------------------------------------------------
|---------------------------------------------------------------------------------
|--------------------------------------------------------------------------------

(whammy bar trickery--------------------------)
|------------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------
|-14p12p11-14p12p11---/12h14p12\-----/12h14p12\-----/12h14p12
|------------------------------/--------------\---/-- ------------\---/--------------
|-----------------------------/----------------\-/-----------------\-/---------------
|----------------------------------------------------------------------------------

Big dime squeal at the end. just the fret. you figure the rest
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|----(2)-------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------

In my first year or so of playing, I never gave it a second thought. I was thinking that is was unneccessary. Well, now that I am in my band and we are writing songs, I feel extremely thick for not learning it in the beginning. I am trying to cram as much as I possibly can down my throat while writing but it is tough. My biggest thing is how the hell to put what I know towards making a song. I understand the basics of intervals and things that are very elementary. I just can't figure out how all that stuff goes together to help make a song. I am not asking any questions out of this. I am just saying, if you have dreams of going into the music industry, music theory helps a lot. If you want to, you could post what you know about theory. Make one thread that someone could refer back to and find what helps. I am just saying, I wish I would have started on theory a long time ago.

Can you guys give me some shred guitar scales/Lead guitar scales?I am in need.

Geet PHUCK

I'm not even familiar with the scales he was playing in,what was that anyway?A Bm?

Ok, I'm sorry for posting this after only joining the forum so shortly, but I just went through three pages worth of this blog and I can't find the answer to this specific question.

I was thankfully helped by someone after joining and posting my greetings, and he (just assuming if its not a he I'm sorry) said that modes are movable, but shapes are not.

So, I know all seven root six string modes they way I learned them off the Rusty Cooley DVD, I know the shape for A Dorian, what shape would be F Dorian?

Thanks in advanced and hello, I know I'm strange and Californian, don't blame me it's the the sun slowly cooking my mind.

write a song rhythms, get lyrics and that involved, and just let your fingers find the solos? Just "feel" your way through? That's how I tend to do things when I write songs, just play what feels right, and if I find a turd note (or a dozen) I erase those, keep the concept, and find notes that work.
Anyone else do this?

Being over here I've not had a lot of time but used what time I've had playing the hell out of that Ibenhad (which I absolutely LOATHE, I need POINTY!!!) and a Rogue 12 string which I pretty much taught myself how to tune and string etc.

A very easy song for the budding young lead guitarist I would say would be a simplistic masterpiece by Norse Metal Gods Amon Amarth entitled Under the Northern Star, which goes something like this:

G--6--7-6--7-9-6-----
D--------------------7-6 X2

Then (all on bottom string, tuned to std)

e----5--5--5p4h5-5/10-9~/5-5/4-4--2-4--5-4~/7-5~5/4/2p0h2

Does this 4X

I think listening to this song and playing along with it will truly help you get some nuances of timing and styling/phrasing and sliding which will only enhance your playing.

I will continue this lesson should anyone be interested in learning more of this great (albeit VERY simple) song

so ive been playing guitar for about 5 years now, and can play pretty much ANYTHING out there. but the problem that im noticing is when switching from finger pattern 1-2-3 [index middle ring] to 1-3-4 [index ring pinky] is that its alot slower than any other pattern that i do. im very strong with my pinky, its likely my strongest finger cause i practiced hard to get used to using it, but when it comes to using my ring finger and pinky at the same time, i just slow down a ton. is this common or just coincidence?

I've been playing guitar since December 08 and been trying to self teach myself. I'm having a hard time learning from the books so I have decided to try DVDs. I decided to go with DVDs lessons by Doug Marks. I will blog here on my progress so you all can keep up with me and see how these DVDs work. If your interested to know more about the DVDs go here http://www.metalmethod.com/basic-guitar-lessons.htm

I like the ideas of DVDs so it gives me a chance to learn at my own pace and not have to pay for a teacher that I can't afford right now.

I've already done the first two lessons so I will make post about those lessons and start lesson 3 soon. I do a lesson a week, this is a 6 month course to complete.

Every guitar player I come accross has one sweep picking lick that they do more than any other, so lets start a list of all our favorite sweeps, so maybe it can help people (like me) get better at it and not play the same ones so many times.

My Favorite:

Major Minor Diminished
e--7--11--7 e----6--11--6---- e---7--11--7---
b-8---------8 b--8-----------8-- b--9----------9--
g7-----------7 g 7--------------7- g 7-------------7
d-------------- d ------------------ d-----------------
a-------------- a------------------- a-----------------
E-------------- E------------------- E-----------------

I had the day off work yesterday and since my wife and young boy were out for the day I decided to do some major scale practice. I kind of lost track of time and 9 hours later I turned off the metronome and put down the guitar. It was great and I got a bunch of stuff done, although my fingers are a little sore this morning.

That was easily the longest I have ever *practiced*. Anyone else done marathon practice sessions in the past?

I play through a Line 6 POD, and wanted to get some new settings. Does anyone know of a site with settings, or does anyone have a setting they use that you would like to share.

I get a lot of unwanted noise when I'm soloing. Probably because I'm not good enough at muting the strings which are note picked:)
Any good tips for this other than practice of course.

Any suggestions as to the action of the strings? I have pretty low action (slight buzzing), and that works to my advantage when string skipping etc, but maybe that's not the best thing when it comes to playing a solo "clean"?

I decided to take a little break this evening inbetween sessions of gorging on chocolate just to post up a quick lesson on using a metronome. When learning to shred, or even to play guitar at all it's always best to use a metronome, it keeps you in time, gets you used to following a drummers beat and can help you dramatically in increasing both speed and accuracy. In other words, what's not to like about a metronome?!
They're also cheap as chips, you don't have to splash out loads on one, there are some tuners have built in metronomes for example, there's a metronome function in Guitar Pro which is dead handy, and I think there's even an online metronome program which you can use, so there's absolutley no excuse for not having access to one.

Anyway, in 4/4 timing there are 4 beats in a bar as you probably all already know, which on a sheet will look like this:

Each of those little X's count as a beat, and it's these beats you have to follow.
It'll sound like this:
Boof. Boof. Boof. Boof.
Well... maybe not exactly like that, but hey, I ain't no drummer!

The simplest way to start using your metronome is to match a note on your guitar with a beat from your metronome, so for each of the above beats you're going to play a quarter note of your choice on the guitar.
For example:

I've marked out the drumbeats in red dots so you can see where the beat is and where the notes are. So it should sound like this:
Boof. Boof. Boof. Boof.
Dong. Dong. Dong. Dong.

You can use that for open notes, fretted notes, scales, chords or licks. Here's some examples, all following the same pattern - as the metronome makes a tick, you hit a note/chord/whatever:

Now, that's all fine and dandy, to a point. And that point is when you stop and think "Right, so.. what about inbetween drum beats and all that stuff?" Well, I'm gonna get to that now.
This is called subdivision, wherein you divide each beat by a certain number. That might sound odd, but put plainly it means that for every beat that's played, you play suchandsuch amount of notes.
For instance, instead of playing quarter notes we'll use eighth notes instead:

You get the idea right? For every one beat the metronome plays, you play two, effectively dividing the beat in two.
The same works for sixteenth notes (4 notes for every beat), thirty-second notes (8 notes for every beat), sixty-fourth notes (ouch!) etc etc.

To use your metronome to increase your speed you're going to want to set it at a tempo you feel comfortable at. If you're learning songs or licks, try them at around half the tempo they're usually played at. For example:

This lick is meant to be played at 125 bpm, but in order to learn it correctly, I'd bring the tempo down to 60 or so. Any tempo will do so long as you're comfortable with it. If you feel like you're pushing too hard or you're straining to hit the notes cleanly each time, everytime - slow the fuck down!! It's about muscle memory and smooth motor control, not speedy gonzalés - not at this stage anyway.
Once you got the lick or scale or riff down at that tempo and are comfortable with it, knock it up 10 bpm. If that's too fast for you, slow it down until you can hit it alright. Keep doing that and increasing in small increments each time until you reach your desired tempo, or keep on climbing!
It'll be tedious work, and it will definatley be boring, but if you enjoy something you won't even notice the time go in. What you WILL notice however is that you'll become cleaner, faster and a better time keeper. That's definatley worth the work imo.
Anyway to finish up, to those of you who made it this far through the onslaught of text, you seriously need a life! Seriously though, thanks for reading - if there's any questions, criticisms, comments or queries or if you feel I've left anything out don't be afraid to comment. Thanks for your time, and happy shredding.
Peace, Love, Light and Sound,
- Ryan

I've just begun learning songs by ear and I'm currently trying to learn this song. I have already figured out the main intro/chords. I read after you find out the chords you can figure out what the rest of the songs key is or something like that and I'm not really sure what that means.

The song: http://www.youtube.com/watch?v=ZtHDsyTYWyg

Heres what I have so far (tempo not exact, just listen to the song and you can figure it out)


I'm trying to figure out the intro solo type thing that begins around 0:10

Any help on how I could figure the notes out would be really appreciated. And I'm not asking for you to tab it just to tell me or give me some tips on how I could figure it out.

why the hell not.

someone come up with a base riff for a song, just repeat it for about a minute or minute and a half, then anyone else takes a shot at writing a lead guitar part over it.

I got this idea a friend at the ESP boards

if this has been done before i apologise,Ok this is all my own words im sorry if this goes off on abit of a rant...
Lately i've been kind of scared about all the guitarists that dont know basic music theory such as the names of notes and how they correspond to a guitar and its chords. As most of you know e standard is EADGBe these are notes(sorry if this is patronising to you). The frets indicate a semitone of difference in pitch

a semitone can be easily explained by the keyboard. Its simply the note exactly next door to the note previously, eg in this keyboard it would go white key black white black white white etc. etc. In an octave ( the term used to describe all the pitches until they repeat again at a higher pitch) the octave again shown on the keyboard is c c# d d# e f f# g g# a a# b (chromatic scale of c) and then unfourtunaly the keyboard shown here does not have the c repeated but thats how the sequence continues repeating but getting higher in pitch.
Ok so you remember how the guitar strings are tuned in e standard well this E mentioned in the chromatic scale is what the lowest and highest strings on the guitar are tuned to. The semi tone is the note next door on the piano and the next fret up. So when playing say the riff smoke on the water on an e string (your choice) ie the pattern goes 0 3 5 by counting up the frets we understand that it goes e g a ( 1 being f and 2 being f#). When the 12th fret is hit the e has been repeated again at the octave. For fun (well to learn) try hitting an e on every string

the notes should be in order of strings in e tuning E: 0 and 12 and 24 for you more cockier A: 7 and 19 D: 2 and 14 G: 9 and 21 B: 5 and 17 and E 0 12 and 24

this is the first lesson of a few if i dont get eaten alive im not trying to be cocky just trying to help if you have any questions please comment below or pm me.

I was wondering if you guys were using more than one head for your half or full stacks? Right now I am using the krank krankenstein half stack. I was thinking about getting another head just to play with. So naturally I wanted to see what others were using to get their killer sounds from. I was thinking of the mesa boogie triple rectifier head. Or perhaps a marshall, but I wouldnt know which marshall just because there are like 20 heads to choose from. Im sure the kerry king head is bad ass too.

I was thinking about this for those of you who have Gmail or Google Talk and a webcam. Is there any interest in any lessons over these mediums? If so what would you like to learn?

I'm trying to learn this easy part of a riff, but im not sure how to do the part where it tells u to hammer on 5-7 and then have an open note on low e string, after hammering on to 7 do u strum the open note and 7 again?

i need help
usually i improve a bit every week
i get faster,i can do bigger stretches ect
but for the last few months i'v not got faster
its really pissin me off now
atm im learnin all de pantera solos bt in each song therez always one bit i cant play
cemetery gates for example
iv got the whole solo down apart from that frackin legato bit
no matter how much i practise i just cant play it faster
no matter how much i practise anything,i just cant get it faster
i'm pretty sure i aint tha only 1 with this problem
pleez help

for me i'd have to say this one gave me the biggest improvement in the shortest time

http://www.justinguitar.com/en/TE-007-FingerStretch.php

Well currently im learning how to play the guitar using a set of DVDs ( Learn Rock Guitar Beginner,Intermediate,Advanced by John McCarthy from The Rock House Method) i got a couple months ago. I want to learn to play Lead/Shred Guitar but im unsure of some things. Should i learn all the chords, scales, etc.? Should i just learn what i want to learn? What should I learn that would help me get better at Lead/Shred guitar?
Also Id like to know if theyre any good strings and picks that would help me out. I currently have the Dunlop Jazz III XL picks and i cant remember what strings i have.
I know im asking alot but if anyone has any suggestions. That would help out alot.

In this lesson I take an unusual and fun approach at playing scales. Practice them in this nonlinear fashion and watch several areas of your technique improve.

YouTube has been "experimenting" with their technology recently and so far it has resulted in deteriorated quality of both audio and video of newly uploaded clips. I'm not sure how long this is going to be the case, so I uploaded this new lesson to Vimeo. The video quality is good and the sound is pristine. I may be migrating my other videos there eventually.

Enjoy the new exercise!

http://vimeo.com/3277694

I just wanted to write some quick thoughts for some of you younger players out there and for some of you seasoned guys who are looking to expand on your already developed technique. It has come to my attention that many people out there who are into playing a lot of arpeggios love to sweep pick. While I do believe that it is a good technique, I can't stress enough how important it is to be able to alternate pick your arpeggios. In fact it is so important that I feel that if you haven't already started to learn sweeping that you alternate pick them first and get your technique down. The reason I am saying this is that too many guitarists out there use sweeping as a crutch for arpeggios, and while it is a useful technique, it does stop you from developing some very needed technical abilities. If you watch some of the most highly regarded players out there you will see that a lot of them still actually alternate pick their arpeggios as well as using sweeping. Anyway, do what you will, but just take my advice into account.

I get asked by friends, family, and especially girlfriends, what is your obsession with practicing shred guitar? I really started trying to think about the question, and thought I may attempt to explain what is going on during a hard core shred guitar practice session, and hopefully it will help some of my fellow shred heads out there explain it themselves. It’s not man vs. nature, it’s not man as predator, it’s more like man vs. self, or man vs. machine. When I sit down just me and my trusty Ibanez late in the evening, and I’ve gotten all comfortable and cozy in my practice room, I wrap my hands around the guitar neck, crank up the faithful Line 6 amp, get the drive set just right for that nice sweet sustained distortion that gives me that classic shred guitar feel, and then it begins. Perhaps it starts a little slow, and maybe I’m feeling a little rusty, or maybe I just haven’t loosened up enough yet or hit my shred guitar groove, either way, I know here shortly my fingers will be flowing up and down the neck at speeds that at times even amazes myself.

Perhaps it’s just some short bursts I’m practicing or warming up with, maybe its some slow moving arpeggios I’m busting my butt to master, either way, I’m after a shred guitar pinnacle, a mountain top if you will. I’m after that point where I hit a certain speed, feel, or accomplishment that words can barely explain. It’s that point were a once complicated shred guitar riff is being conquered after all. It’s that point were your beginning to overcome a barrier, or perhaps a few barriers to reach a level of self satisfaction. Its having mastered that riff that no one has to ever hear except for me and my guitar that personally brings me true confidence and satisfaction. It’s knowing deep inside that I am rising up one more small level towards being able to sit comfortably among the shred guitar gods and know that among their company I have paid the dues to earn the seat. It’s hitting that level that brings my mind body and soul closer to my instrument establishing a bond and relationship that no one can break. It’s that point where you can not be disturbed because it’s happening, the barriers are coming down, you’re mind body and soul have taken over and began working together as one in perfect unison and harmony with the instrument. Its that point were your fingers seem to take on motions that are all their own, and have lost the need to be guided by your mind as you watch your fingers dance at lightning speeds that almost seem disconnected from your mind and body.

I try to explain this feeling to others. There is a personal self gratification obtained from overcoming and mastering a skill that requires such a high level of dedication. To master shred guitar requires many hours of focus and personally having the capability to break and overcome many barriers. The best comparison I can come up with is perhaps a combination of a mad scientist spending years to develop a formula, and an Olympic runner training for a race all in one. The ability to master shred guitar requires the analytical skills of a scientist to some level, and the physical development of an Olympic runner, and the dedication and focus of both put together as one.

When I sit down to put in my time, which sometimes is six or seven hours a day, it feels almost like destiny. I don’t focus on obtaining rock star status, impressing friends, girlfriends, or getting a record deal, yet my soul focus is on mastering the art of shred guitar. It just feels like shred guitar is an art I must continue to pursue, grow, and maintain.

So the next time a friend, family member, or girlfriend asks you what your obsession is with mastering shred guitar, just tell them that its unexplained destiny, like a scientist spending a lifetime to find a formula, and an Olympic athlete trying to condition their body to perfection all wrapped up in one. If they scoff at you and ask, you a rock star? Just say no, me a person that continually receives an insane level of self gratification felt by a select few for having mastered such a grand art as shred guitar.

Shred Guitar