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PAUL GILBERT present s

SHRED ALERT!!!
DVD
THE
ULTIMATE
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Photograph by PHOTOGRAPHER
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2 GUITAR WORLD
PAUL GILBERT present s
SHRED ALERT!!!
DVD
1. ALTERNATE UNIVERSE
Using alternate picking and note skipping to play interesting arpeggio patterns
2. READY TO RUMBLE
Quick, effective pick-hand warm-up exercises
3. READY TO RUMBLE, PART 2
More pick-hand warm-up exercises
4. ASSUME THE POSITION
Using position shifts to your advantage when soloing
5. ACCENTUATE THE POSITIVE
Alternate picking with accent patterns
6. FAST AND CLEAN
Alternate-picked 16th notesthe business card of shred guitar
7. STICK YER NECK OUT
Using neck diagrams to your advantage
8. SHAPE SHIFTING
How to organize patterns on the fretboard
9. SNAKE-CHARMING LICKS
The fifth mode of harmonic minor
10. UNITED MUTATIONS
Mastering muting techniques
11. BREAKIN OUT
The blessings and benefits of live performance
Instead of just playing a C major triad
(C E G) over C5, lets add the s4 to the
mix, as shown in FIGURE 6 with the notes
C, E, Fs and G. If we apply the note-
skipping concept, we get C-Fs as our
frst pair (FIGURE 7a). FIGURE 7b illustrates
the ensuing sequence played across

three octaves. Its also fun to play each


pair as a two-note chord (FIGURE 7c).
Try applying this approach to
whatever scale or mode you can think
of. As shown in FIGURE 8a, it works well
with E Dorian, the E blues scale and an
A diminished-seven arpeggio.
ALTERNATE UNIVERSE
USING ALTERNATE PICKING AND NOTE SKIPPING
TO PLAY INTERESTING ARPEGGIO PATTERNS
CHAPTER 1
3 GUITAR WORLD
HI, AND WELCOME to the frst
chapter of Shred Alert, where
Ill teach you many of the
techniques I use. Lets begin
with a very simple picking
exercise (FIGURE 1) and look
at some of the neat and musically
interesting variations you can spin
from it. We have two notes, E and B,
picked repeatedly with alternating
downstrokes and upstrokes, a technique
known as alternate picking. This is a
good exercise for what I call outside
picking, as the pick movement is
consistently on the outside of the pair
of strings, which is considerably easier
than inside picking.
What I am going to do now is
expand on this idea by applying a
mathematical pattern to an Em triad
arpeggio (E G B). In FIGURE 2a, the
notes are played sequentially in an
ascending fashion in two octaves
across the neck; in FIGURE 2b, the same
notes are played in a different position
as a sweep-picked arpeggio (sweep
picking involves dragging the pick
across the strings in a single downward
or upward motion).
This is how most rock guitarists
play arpeggiosstraight up and down.
What I like to do in order to create
a more interesting melodic contour
is apply a note-skipping pattern that
goes up two, back one, up two, back
one, etc, as demonstrated in FIGURES
3a-d: in FIGURE 3a, instead of playing E
to G, I play E to B, just like our initial
picking exercise. In FIGURE 3b, I move
on to the next pair, G-E, using the same
outside picking motion. Now that we
have a new pattern, lets get it under
our fngers by alternating between
each note pair (FIGURE 3c). FIGURE 3d
shows the next pair, B and G, and all
three pairs are played in sequence in
FIGURE 4a. The pattern sounds cool
when continued across three octaves,
as demonstrated in FIGURES 4b and
FIGURE 4c.
This note-skipping concept can
be applied to other arpeggios, as
well as scales. A very common chord
progression in rock and metal is Em D5
C5 (FIGURE 5a). Its standard practice
with this progression to substitute the
raised, or sharp, four (s4) for the fve
of the C5 chord, sounding C and Fs
instead of C and G. This alludes to the
C Lydian mode, shown in ascending
four-note groups in FIGURE 5b.

P.M.

P.M.

FIGURE 1
* = downstroke
*

= upstroke
FIGURE 2a Em triad

12

10

14

14

12

16

( )
17
151919
FIGURE 2b
sweep arpeggio

12
10
9
9
8
912

FIGURE 3a


12
14
12
14

12

3 3 3
3 3

FIGURE 3b
10
14

15
14
15
14

FIGURE 3c

15
14
15

12
14
15
14


FIGURE 3d
14
17

14
17
14
17
FIGURE 4a

sim.
12

14

15

14

14

17

FIGURE 4b
12
14
15
14
14
1714
16
17
17
16
20
FIGURE 4c

17
19

12
14
15
14
14
1714
16
17
17
16
2017
19

17
19
16
20
17
17
14
16
14
17
15
14

12
14

FIGURE 5a
Em
7
9
9
8
7
9
9
8
D5
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
5
7
7
5
7
7
0
C5
X
X
X
X
X
X
X
X
X
X
X
X
3
5
5

3
4
3
5
0
3
4
3
5
3
4


FIGURE 5b C Lydian mode

8
7 9 10

10
9 11 12
13
12 14 15
1
!
12 12 10
13
FIGURE 6

(root)
C
8

(maj3)
E
7

F#
(#4)
9
G
(5)
10

FIGURE 7a
sim.

8
9
8
9
!
8
FIGURE 7b

8
9
12
10 9
10
10
9
10
11
14
12 11
13
12
12
13
14
17
15
!
19
20

20

FIGURE 7c
8
9
12
10 9
10 X
10
9
10
11
14
12 11
13 X
12
12
13
14
17
15
0
19
20
FIGURE 8a E Dorian

19
18
17
19 18
17
19
20
1/2
17
21

E blues scale
12
13
15
1413
12
14
1412
12
14
1512
12
15
15
12
12
15
15
( )
1/2
17
18

18

A diminished-seven arpeggio
14
15
17
16
15
14
16
1714
14
17
17
19
20

FIGURE 1 FIGURE 2 FIGURE 2b FIGURE 3a


FIGURE 3b FIGURE 3c FIGURE 3d FIGURE 4a
FIGURE 4b FIGURE 4c
FIGURE 5a
FIGURE 5b FIGURE 6
FIGURE 7a FIGURE 7b
FIGURE 7c FIGURE 8a
the two. Youll fnd that when playing
very quietly it takes a lot of control to
keep the picking even.
Lets move to some different chords:
FIGURE 12c begins with a G major voicing,
again altered by changing the note on
the high E string: FIGURE 12d features an
ascending D diminished-seven voicing,
and FIGURE 12e begins with some natural
harmonics (N.H.), sounded by lightly
READY TO RUMBLE
QUICK, EFFECTIVE PICK-HAND WARM-UP EXERCISES
CHAPTER 2

laying a fret-hand fnger across the top


three strings directly above the fretwire.
If you play all of these fgures in
sequence without stopping, you will
have repeated this picking motion for
about three minutes. By this point,
your pick-hand will be warmed up.
In the next chapter, Ill offer some
permutations on this useful and
effective exercise.

P.M.

P.M.

P.M.

FIGURE 1
*
* = upstroke = downstroke
Em


FIGURE 2

Am


FIGURE 3

sim.
Am
5
5
5
7
5
5
8
5
5
7
5
5
3 3 3 3 3 3

FIGURE 4a
P.M. throughout
sim.
Am

8
10
9


8
10
14

12
13
14

FIGURE 4b

sim.
P.M. throughout
Am
15
13
14
14
13
14
12
13
14
14
13
14
3 3 3 3 3 3 3
15
13
14
14
13
14
12
13
14

14
13
9
8
10
9
10
10
9
12
10
9
10
10
9
8
10
9
7
10
9
8
10
9

7
10
5
3 3 3 3 3 3 3 3 3 3 3 3
5
5
5
7
5
5
8
5
5

mp
7
5
5

5
5
5


cresc.

mf

mp

cresc.

mf

3 3 3 3 3

FIGURE 4c
P.M. throughout
sim.
G
7
8
7
8
8
7
10
8
7
8
8
8
7
8
7
5
8
7

7
8
7

3 3 3 3 3 3 3

FIGURE 4d
P.M. throughout
sim.
Ddim7
4
6
7
4
6
10
7
9
10
7
9
13
10
12
13
10
12
16

13
15
16

13
15
14
Am

12
13
14

3 3 3 3 3 3 3 3 3

FIGURE 4e
sim.
N.H.
Em

12
12
12

5
5
5

5
5
5

0
0
0

3 3 3 3




Am

5
5
5


(slow down)

0
7
5
5
5

3
IN THIS CHAPTER, Id like to
show you my favorite right-hand
(pick-hand) warm-up exercise. I
use this exercise at every show,
every clinic and any time I need
to warm-up my right hand
before performing.
The entire exercise is played on the
top three strings in a rhythm of repeating
eighth-note triplets. This means that
each beat in a bar of 4/4 is divided
like this: ONE-trip-let, TWO-trip-let,
THREE-trip-let, FOUR-trip-let. To play
each eighth-note triplet, I use a picking
motion of up-up-down. As illustrated in
FIGURE 9, I pick the open high E string
with an upstroke, followed by the open B
picked with an upstroke, followed by the
open G string picked with a downstroke.
I also use palm-muting (P.M.) to attain
a more staccato (detached) sound. Palm
muting is performed by resting the edge
of the pick-hand palm across all of the
strings, at the bridge saddles.
Note that the upstrokes are performed
as individual strokes, as opposed to
picking a single upstroke dragged across
the top two strings, which would be
whats known as a reverse sweep or
reverse rake. It requires more muscle
movement and coordination to perform
two upstrokes, but thats why this is a
good warm-up exerciserepeating three
distinct picking motions in this way will
build up the muscles in the pick hand.
Because I get bored hearing the same
three open strings over and over, I like to
use different chords to make the exercise
sound more interesting. As shown in
FIGURE 10, I can barre across the top three
strings at the ffth fret to sound an Am
triad. This will soon get monotonous as
well, so I can easily make it sound more
interesting by changing the note on
the high E string to imply a melody, as
demonstrated in FIGURE 11.
In order for this exercise to be an ef-
fective warm-up, I need to keep picking
the strings in this way for at least two
minutes, which of course inspires me
to move around the fretboard a little bit
and fnd some other interesting shapes
and fgures to play. Lets start with dif-
ferent inversions (chord voicings) of Am,
as shown in FIGURE 12a: I begin in eighth
position, with the minor third, C, on top,
and then shift up to a 12th-position in-
version of Am with the ffth, E, on top.
Likewise, Ill alter the note on the
high E string for a little variety, as in
FIGURE 12b. Another good thing to do is
to practice picking dynamics, by picking
softer or louder, or switching between
ON
DISC
ON
DISC
4 GUITAR WORLD
FIGURE 9 FIGURE 10 FIGURE 11
FIGURE 12a FIGURE 12b
FIGURE 12c
FIGURE 12d
FIGURE 12e
Now lets apply our picking tech-
nique to these chord shapes, as dem-
onstrated in the second part of FIGURE
14. Following an eighth-note pickup
on the fourth string, picked with a
downstroke, each eighth-note triplet
is picked up-up-down on the second,
third and fourth strings, respectively.
Notice that I like to use palm muting
throughout (rest the edge of the pick-
hand palm across the bridge saddles)
to attain a more percussive attack and a
clearer separation of notes.
Now that you have a handle on the
concept, lets experiment by moving
these chord shapes around the board in
different patterns: as shown in FIGURE
15, I begin by descending in the same

manner as FIGURE 14 for the frst two


bars, but at the end of bar 2 I anticipate
each new chord shape by shifting to it
on the preceding eighth note, sounded
on the fourth string with a down-
stroke. This approach is then adhered
to for the remainder of the exercise.
Anticipating each new chord shape like
this serves to make the exercise sound
even more interesting.
Once youve become comfortable
with the picking technique and musi-
cal concept, try to invent your own
ways of connecting these kinds of tri-
adic chord shapes. For the truly adven-
turous and ambitious, try applying the
pattern to all the other groups of three
adjacent strings.

Freely

FIGURE 1
12
1/2
E79
1210
13 1210 9
9
10 9
10 10 9
10 910
9
10 9 7 9 7 6 7 6
8
6
8 7
8
1/2
7 7 7 5 7 5 4 1

0
0
0
2
2
1
0
0

3 3 3 3 3 3 3 3

P.M.

FIGURE 2
E E79 Am E7 F
14
13
13
12
10
12
10
9
10
9
7
9
E Dm E

7
5
6
6
4
5
3
2
3
2
1
1
0
5 A

*
* = downstroke
14

E
13

13

14

E79
= upstroke
12

10

12

Am
10

10

E7
sim.
F
9

E
6
5
7
5
4
6
Dm
3
2
3

E
1
1
1
3 3 3 3 3 3 3 3


FIGURE 3
14

P.M. throughout
13

13

14

12

10

12

10

10
sim.
9

6
5
7
5
4
6
3
2
3

1
1
6
3 3 3 3 3 3 3 3

5
4
3

3
2
7
6
5
6

5
4
9

9
9
7

6
5
10

10
9
9

9
7
14

13
13
12

12
10
10

10
9
9

9
7
7
3 3 3 3 3 3 3 3 3 3 3 3

6
5
6

5
4
3

3
2
2

1
1
3

3
2
7

6
5
10

10
9
14
13
13
14
15

1
15

3 3 3 3 3 3 3 3
IN THE LAST CHAPTER, I pre-
sented an intensive pick-hand
exercise that I do before every
show or clinic. I know that
in any situation it will get me
warmed up and ready to play
in no time. To refresh your memory,
the exercise is built from sequences of
eighth-note triplets that fall on three
adjacent strings, one note played per
string, moving from the highest string
to the lowest. Instead of playing each
triplet as a reverse sweep, which in-
volves dragging the pick across the
three strings in a single upward mo-
tion, I prefer to use individual pick
strokes, picking the frst two notes
with upstrokes and the last note with
a downstroke. It is the use of these
individual strokes that really builds up
ones picking strength and stamina.
With just about everything I use as
a warm-up exercise, one of my hopes
is that I will eventually use the given
technique in a piece of music. Im not
interested in warm-ups that are simply
muscle-building routines. To me, its
more useful and enjoyable if the exer-
cise exudes some musical merit as well.
One of the ways to apply a musical
approach to this picking exercise is to
instill a scalar concept, molding the
exercise to the musical structure of a
given scale. A scale that works well with
this exercise is Phrygian dominant,
which is the ffth mode of the harmonic
minor scale. Sometimes referred to as
the snake charmer scale, Phrygian
dominant is intervallically spelled 1 f2 3
4 5 f6 f7. In the key of E, the notes are E
F Gs A B C D; FIGURE 13 is a descending
run based on this exotic-sounding scale.
The frst thing I did with the scale
was to harmonize it in three-note
chords, as shown in the frst bar of
FIGURE 14. Starting with an E
+
(E aug-
mented) triad, I move the chord shapes
down the neck by shifting each note on
each string to the next lower scale tone
on that string, i.e., the E note on the
fourth string moves down to D, the Gs
on the third string moves to F and the
C on the second string moves to B. The
process continues down the fretboard
to frst position.
5 GUITAR WORLD
READY TO RUMBLE, PART 2
MORE PICK-HAND WARM-UP EXERCISES
CHAPTER 3
FIGURE 13
FIGURE 14
FIGURE 15
sane) position-shifting exercise is to
play the entire A minor pentatonic scale
in ffth position using just one fnger. As
shown in FIGURE 19, I frst play the entire
scale using only my index fnger, which
forces me to move it up and down the
fretboard very quickly and, hopefully,
accurately. I then repeat the exercise
with the middle fnger, ring fnger and
pinkie. This type of drill will get you
accustomed to making instantaneous
position shifts with every one of your
fretting fngers.
The last position-shifting lick in this
chapter is shown in FIGURE 20. This
one looks a little crazy because I shift

back and forth between two positions


very quickly. In the frst bar, I begin in
10th position and use string skipping,
from the high E to the G, to play the
frst two notes. I then play the last four
notes in 12th position. The lick in bar 2
is almost identical, except the frst and
fourth notes in the lick are played one
fret lower. When you get this one up to
speed, it sounds a little like a synthe-
sizer lick.
Hopefully these exercises will help
you to get a handle on position shift-
ing, and I do hope you have fun play-
ing minor pentatonic scales with your
pinkie only.

FIGURE 1 A minor pentatonic scale


8 5
8 5
7 5
7 5
7 5
8 5

FIGURE 2

0 3 5
3 5 7
5 7
5 7
0
17 19
17 19
17
1
20
17 20 20 20 17
20 17 20
1

FIGURE 3
5 7
5 7
0
17

5 7
5 7
0
17 19
17 19

0 3 5
3 5 7
5 7
5 7
0
17 19
17 19
0 3 5
3 5 7
5 7
5 7
0
17 19
17 19
17
1
20
17 20 20 20 17
20 17 20
1

index:
middle:
ring:
pinkie:
1
2
3
4
FIGURE 4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
5 8
5 7
1
2
3
4
1
2
3
4
1
2
3
4
etc.
etc.
etc.
etc.
5 7
5 7
5 8
5 8 10 8 5
8 5
7 5
7 5
7 5
8 5

1
FIGURE 5
3 1 4 1 3

10
12
12 15
12 14

1 3 1 3 1 3

9
12
12 14
12 14

3 3
ID LIKE TO ADDRESS the dodgy
subject of position shifting.
A great way to jump into this
topic is to use as our basis one
of the most commonly used
scales in rock, the minor pen-
tatonic. FIGURE 16 illustrates A minor
pentatonic played in ffth position.
Most guitar players have played this
scale in this position a million times. In
this chapter, Ill show you how to play
it outside of the box, using position
shifts that give you greater movement
and versatility over the fretboard.
When this scale is played in ffth
position, the highest note is C (frst
string, eighth fret) and the lowest note
is A (sixth string, ffth fret), and you are
stuck within the limitations of those
boundaries. Position shifts open those
boundaries, allowing us to play this
scale from the absolute lowest note pos-
sible, the open low E, to one of the high-
est notes possible on a guitar, the D on
the frst strings 22nd fret.
FIGURE 17 illustrates a very comfort-
able way to traverse this scale, as well
the entire fretboard, across three and
a half octaves of A minor pentatonic.
Following the frst note, the open low
E, I fret a G on the third fret of the sixth
string and then hammer-on up to A at
the ffth fret. I then move over to the A
string and start with a hammer from the
third fret to the ffth, then slide up from
the ffth to the seventh fret. This is fol-
lowed by ffth-to-seventh-fret hammers
on the D and G strings.
The next note is the key to this ex-
ercise: using the open high E string to
sound the next note in the scale, I am
afforded the opportunity to shift all the
way up to 17th position and continue
playing the rest of the scale.
Making that position shift sound
seamless can be a little tricky, so its a
good idea to break the phrase up into
smaller pieces, as shown in FIGURE 18.
Begin by looping the frst six notes of
the scale with the position shift. Once
that begins to feel comfortable, add a
few more notes and continue to do so
until the entire phrase feels comfortable
and seamless. Familiarizing yourself
with an expanded note register like this
will afford you a range that is normally
exclusive to keyboard players.
Another good (but admittedly in-
6 GUITAR WORLD
ASSUME THE POSITION
USING POSITION SHIFTS TO YOUR ADVANTAGE WHEN SOLOING
CHAPTER 4
FIGURE 16 FIGURE 17
FIGURE 18
FIGURE 19
FIGURE 20
*by Paul Gilbert

IN THIS CHAPTER were go-


ing to look at the concept of
syncopation, and well begin
with a rhythm fgure that lays
out an accent pattern. Keep
that rhythmic syncopation in your
mind, because I use those same ac-
cents in the crazy picking exercise
that is the focus of this column.
Check out the rhythm guitar fgure
riff in FIGURE 21: this pattern is made
up of root-ffth power chords played
in a syncopated fashion against an
open low-E pedal tone. This is essen-
tially a two-bar rhythm pattern with
very pronounced, specifc accents: in
bar 1 they fall on the downbeat of beat
one, the upbeat of beat two and the
downbeat of beat four; the accents in
bar 2 fall squarely on beats one, two
and three. If one were to recreate that
rhythm orally, it would sound like
this: ONE (and two) AND (three and)
FOUR (and) ONE (and) TWO (and)
THREE (and four and).
FIGURE 22 illustrates the picking
exercise, which is based on a long
sequence of 16th-note triplets. Notice
how the line is contoured with ac-
cents falling in the same places as in
FIGURE 21. Its in the key of E minor
and stays diatonic (within the scale
structure of ) to the E natural minor
scale, which is also known as the E
Aeolian mode (E Fs G A B C D).
The great majority of the lick is al-
ternate picked, but I throw in a couple
of double hammer-ons, which serve to
smooth out the sound. Also, its very
important to begin this lick with an
upstroke. Throughout the exercise,
the initial pick on each new string is
executed in this manner.
I begin FIGURE 22 in ninth position
and play the initial pattern twice. I
then move up to 12th position and
follow the same pattern contour
while staying within the scale struc-
ture of E natural minor, which neces-
sitates a slight change in fngering. I
then do the same thing in 16th posi-
tion. In FIGURE 22a, I move the lick up
the fretboard one scale degree at a
time, beginning in ninth position on
Fs, then starting on G, A, B and C.
A great thing to do is focus on one
part of the lick, such as the fragment
shown in FIGURE 23. Play this slowly un-
til it feels comfortable, then gradually
increase your speed.
7 GUITAR WORLD
ACCENTUATE THE POSITIVE
ALTERNATE PICKING WITH ACCENT PATTERNS
CHAPTER 5

P.M. P.M. P.M.


1.

P.M.
2.

FIGURE 1 q = 152
B5 D5
2
4
4

0 0
5
7
7

E5
P.M.
A5
0 0
7
9
9

0
P.M.
G5
P.M.
E5
12
14
14

0
10
12
12

0
7
9
9

G5
0 0
P.M.
F#5
P.M.
E5
10
12
12

0
9
11
11

0
7
9
9

0 0
P.M.
3.
P.M. P.M.
D5
P.M.
G5
P.M.
E5
5
7
7

0
10
12
12

0
7
9
9

B5
0 0
D5
2
4
4

0 0
5
7
7

E5
0 0
7
9
9

7
9
9

P.M. P.M. P.M.

FIGURE 2
Em
= downstroke
9

12

10

10

12

= downstroke
9

10 12
9

12

10

10

12

10 12
9

12

10

10

12

3 3 3 3 3 3 3 3

12

10

10

12

(repeat
prev. beat)

sim.
12

15 14 12 14 15
12 14 15
12

15 14 12 14 15
12 14 16
12

16 14 12 14 15
3 3 3 3 3 3 3 3 3 3

12

0 151719
15

19 171517 19
1517 19
16

19 17161719
161719

16

1917 161719

16

3 3 3 3 3 3 3 3 3

P.M. P.M. P.M.

FIGURE 2a
Em
9

12

10

10

12

10 12
9

12

10

10

12

10 12

9

12

10

10

12

3 3 3 3 3 3 3 3
sim.
10

14 12 10 12 14
10 12 14
10

14 12 10 12 14
10 12 14

11

14 12 10 12 14

11

3 3 3 3 3 3 3 3
12

15 14 12 14 15
12 14 15
12

15 14 12 14 15
12 14 16

12

16 14 12 14 16

12

3 3 3 3 3 3 3 3
14

17 15 14 15 17
14 15 17
14

17 15 14 15 17
14 16 17

14

17 16 14 16 17

14

3 3 3 3 3 3 3 3

P.M.
15

19 17 15 17 19
15 17 19
16

19 17 16 17 19
16 17 19

16

19 17 16 17 19

16

FIGURE 3


16

19

17

16

17

19

3 3 3 3 3 3 3 3 3 3
FIGURE 21
FIGURE 22
FIGURE 22a
FIGURE 23
directly against the 19th fret.
As these exercises include a few
two-notes-per-string descending lines,
a cool twist is to use pull-offs wherever
possible in order to attain a smoother
legato sound, as demonstrated in FIGURE
26. And despite what some people say,

FIGURE 1a
*
* alternate picking:
Em
7

= downstroke;
FIGURE 1b

= upstroke
Em
7

sim.
8

10

!
8
7
10 7
8

FIGURE 1c

Em
10 8
12 8
!
10
8
12 8
10

FIGURE 1d
Em
12 10
13 10
!
12
10
13 10
12

FIGURE 1e

Em
14 12
15 12
!
13
12
15 12
14

3
FIGURE 1f
Em
2 4 1 3
15 14
17 13
2 4 1 3
!
15
14
17 13
15

FIGURE 1g

Em
17 15
19 15
!
17
15
19 15
17

FIGURE 2
Em
19 17
20 17
(play 5 times)
19
17
20 17
17 15
19 15 17
15
19 15
15 14
17 13 15
14
17 13
14 12
15 12 13
12
15 12
12 10
13 10 12
10
13 10
10 8
12 8 10
8
12 8
8 7
10 7 8
7
10 7
7 5
8 5
!
7
5
8 5 7
1/2
!
*T.H.
*Tap harmonic
7

(19)

FIGURE 3 legato (w/pull-offs)


Em
19 17
20 17 19
17
20 17
17 15
19 15 17
15
19 15
15 14
17 13 15
14
17 13
14 12
15 12 13
12
15 12

12 10
13 10 12
10
13 10
10 8
12 8 10
8
12 8
8 7
10 7 8
7
10 7
7 5
8 5
(play 3 times)
!
7
5
8 5 7
1/2
)

using pull-offs and hammer-ons is not


cheating! Legato phrasing is a very valid
technique, and, personally speaking,
I do not adhere to a pick everything
approach when I play. I actually use
a combination of picking and legato,
which I think sounds great.
I WANT TO talk about an in-
gredient that is essential to
every guitar soloists arsenal:
alternate-picked 16th notes.
Sixteenth notes are like the
business card of shred guitar,
as the essence of the style is the ability
to cleanly execute fast, alternate-picked
16ths throughout the fretboard. Id like
to show you a great 16th-note sequence
that can be played all over the neck, is
great for both your right- and left-hand
technique and also sounds very melodic
and musical.
For the sake of familiarity, lets use
the key of E natural minor (E Fs G A B
C D). FIGURE 24a illustrates the initial
shape, which well adapt to various posi-
tions, moving up the neck through the
scale. Using alternate (down-up) pick-
ing, starting with a downstroke, I play
on the top two strings exclusively, begin-
ning with two notes on the high E string,
followed by two notes on the B string,
then one note per string, ending with
two notes on the B. In this and all other
examples, the index fnger remains at
the same fret throughout the melodic
shape. Begin by playing this lick slowly,
and gradually build up speed.
For FIGURE 24a we started on B, the
ffth of the scale. Lets move the idea
one note higher within E natural minor,
beginning on C, the sixth (FIGURE 24b).
Notice that the fngering is slightly
differentthis is to accommodate the
structure of the scale: whereas the frst
two notes of FIGURE 24a were a whole
step apart, and fretted with the ring
and index fngers, the frst two notes
in FIGURE 24b are a half step apart, and
are fretted with the middle and index
fngers.
For FIGURES 24c-g, we continue to
move the pattern up one scale degree
at a time. FIGURE 25 then begins on the
ffth, B, one octave higher than where
we started.
Each of these shapes offers a new
challenge in terms of fret-hand fnger-
ing. FIGURE 24f is particularly interesting
because you have to use all four fngers
(fret-hand fngerings are indicated below
the tab). Another cool thing about that
lick is its pull to a C Lydian (C D E Fs G A
B) tonality (C Lydian and E natural mi-
nor are comprised of the same notes).
Now lets run these melodic shapes in
sequence. In FIGURE 25, I play the initial
lick fve times and then descend through
the shapes. I end with a little fair, bend-
ing the Fs up a half step to G and ap-
plying a tapped harmonic, executed by
bouncing the pick-hand index fnger
8 GUITAR WORLD
FAST AND CLEAN
ALTERNATE-PICKED 16TH NOTESTHE BUSINESS CARD OF SHRED GUITAR
CHAPTER 6
FIGURE 24a FIGURE 24b FIGURE 24c
FIGURE 24d FIGURE 24e
FIGURE 24f FIGURE 24g
FIGURE 25
FIGURE 26
the seventh fret, as demonstrated at the
beginning of FIGURE 29c.
String bending is a technique that
imparts a lot of emotion and char-
acter to your playing, and as such I
dont want to be limited to just one
positionI want to be able to bend ev-
erywhere! In searching for more places
to bend, I realized that, in the key of
A, I could use the notes of the C minor
triad shape in FIGURE 28, as long as I

fret-hand: 2
FIGURE 1a
Am
1 4 1 3
8fr 9fr
7fr
5fr 3fr
.
.
.
.
.
!
7

3
FIGURE 1b
Am
1 4 1

8 5
9 5

3
8

FIGURE 1c
Am
8 5
9 5

7
5 9
5
(play 3 times)
8 5
9 5
7

FIGURE 1d
Am
8 5
9 5
(play 3 times)
7
5 9
5 8

5 8 5
9
5
9 5 9 5
7
5 9
3 3
5 8 5 8 5
9
5
9 5 9 5
7
5
7

7
3 3

FIGURE 2
Cm
!
11 8
12 8
10

FIGURE 3a

A7
1
7 7 5
7
FIGURE 3b

1
8
5 5
8
1

FIGURE 3c
freely
A(7)
1/2
8 7 7
1/2 1/2
5
7
5
7
1 1/2
5
5 8 8
1
5 8 5
8
5
8
5
8 5 8 5
8
5
8 7
5
1
8 7 5
7
5 7 7 7 5
7
5

5
1


7 7 5
7
5 5
7

3 3 3

3
FIGURE 3d
grad. bends
A(7)
1/2
1 4
1/4
1
1
2
1/2
11 8
12 8
1/2
1
10

FIGURE 4

A(7)
1/2
1/2 1
1/4
11
8 12
8
1/2 1/2
7
7 7
1/2 1/2 1/2
5
6
1/2
5
3
1
3 3 3
1
A5
2 0
3
0
2
2
0
2
2
bend each note up a certain amount to
a right note in the key of A, as dem-
onstrated in FIGURE 29d. Now that I had
these new places to bend, I combined
them with the more conventional key
of A bends, as shown in FIGURE 30.
Try incorporating these bends into
your playing. For the adventurous, take
a really bad note in the key of Alike
Bfand bend the daylights out of it until
it sounds good.
ONE THING IVE FOUND very
helpful in my guitar studies over
the years is using what I call
neck diagrams to map out riffs,
patterns and melodic shapes. I
fnd that diagramming makes it
easier to visualize and, in turn, remem-
ber, new shapes on the fretboard.
A good example of a common fret-
board shape is an open D chord: just
about every guitar player is familiar
with the triangular shape of a D cow-
boy chord. But when the shape is a
little more complex, it helps to map it
out and study it visually.
Lets start with a string-skipping ar-
peggio in the key of A minor, illustrated
in FIGURE 27a: this begins at the seventh
fret on the D string, followed by the
ffth and ninth frets on the G string, a
skip over the B string and then the ffth
and eighth frets on the high E string.
Notice the visual shape created by
these points on the fretboard (see dia-
gram)it looks a little like a rhombus.
Pay close attention to the fret-hand
fngering indicated for this shape.
Aside from picking every note, you
can use hammer-ons and pull-offs, as
there are two consecutive notes pres-
ent on the G and high E strings. FIGURE
27b illustrates how to play the lick using
pull-offs, and FIGURE 27c takes things a
step further by incorporating pull-offs
on the way down and hammer-ons on
the way up. Using hammers and pulls
like this makes the lick considerably
easier to play than it would be if you
were to pick every note because of the
numerous skips over the B string.
Another advantage of using ham-
mers and pulls is that you can get some
good speed going and create interest-
ing phrasings. As shown in FIGURE 27d,
I use quick hammers and pulls on the
high E and G strings to keep the lick
moving along. Practice all of these pat-
terns slowly, striving for a very smooth
and even sound.
Now that you have this pattern
clearly visualized, Id like to show you
a cool bonus beneft that I discovered.
If we transpose the pattern up a minor
third (three frets), we get a C minor
arpeggio, as illustrated in FIGURE 28.
But heres the twist: one day, I de-
cided I was going to explore the entire
fretboard and fnd every single place
I could possibly bend a note within
the context of a blues in A. In this key,
most guitarists will bend the G string
at the seventh fret, as shown in FIGURE
29a, or the B string at the eighth fret, as
in FIGURE 29b, or perhaps the B string at
9 GUITAR WORLD
STICK YER NECK OUT
USING NECK DIAGRAMS TO YOUR ADVANTAGE
CHAPTER 7
FIGURE 27a FIGURE 27b
FIGURE 27c
FIGURE 27d
FIGURE 28 FIGURE 29a FIGURE 29b
FIGURE 29c
FIGURE 29d FIGURE 30
which is a little more work for the brain
because it involves different shapes.
Lets use this approach to create licks.
FIGURE 35 incorporates the root/ffth
power chord concept, with the notes
played separately and in sequence. Given
a chord progression like A5-G5-F5, as
shown in FIGURE 36, you can play that lick
in F over the F5 chord. Add a few notes
to that shape, and we can get an F Lydian
sound, as shown in FIGURES 37a-c.

Lets apply the concept to an E minor


lick (FIGURE 38a). We can move this up
one and two octaves, as shown in FIGURE
38b, fretting it exactly the same way. For
fun, try improvising around those shapes.
FIGURES 39a-c incorporate this con-
cept with a Csm7f5 arpeggio; for an
additional twist, FIGURE 39c positions a
Csm7f5 arpeggio-type lick over an A7
chord, which yields a cool, fusion-y A9
(A Cs E G B) sound.

FIGURE 1
5
7
10
FIGURE 2
a)

0
A5
5
7
b)
0
A5
7
9
c)
0
A5
10
12
FIGURE 3
a)

5
4 7
b)
7
6 9

c)
10
9
!
12

12 9
10
9 6
7
7 4
5
9 6
7
12


3 3 3 3

FIGURE 4
5
4 7
7
6
5
5
5
6
7
7 4
5
4 7
7
6
5
5

3
9
FIGURE 5

5
7
7
9
10

12

3 3 3 3 3 3

FIGURE 6
A5
5
7
7
G5
3
5
5
0
E5
1
5
5
13
15
15
!
17
18
20 20

FIGURE 7a

13
12 14 15
FIGURE 7b


15
14 1617
18
17 1920
3 3


FIGURE 7c

13
12 14 15

15
14 16 17
18
17 19 20 17
1
17

15

!
13
FIGURE 8a

7 10
7 9 10

FIGURE 8b
9 12
9 1112

1215
121415

FIGURE 9a

C#m75
8fr
T 2 3 1
7 9
7 10
FIGURE 9b

7 9
7 10
7 9
7 10

FIGURE 9c
A7
5 7 9
7 10
7 9 11
9 12
10 12 14
12 15
1/2
14 14 14 12
1/2
!
15
12
13
14

5 5 5 3

FIGURE 1
5
7
10
FIGURE 2
a)

0
A5
5
7
b)
0
A5
7
9
c)
0
A5
10
12
FIGURE 3
a)

5
4 7
b)
7
6 9

c)
10
9
!
12

12 9
10
9 6
7
7 4
5
9 6
7
12


3 3 3 3

FIGURE 4
5
4 7
7
6
5
5
5
6
7
7 4
5
4 7
7
6
5
5

3
9
FIGURE 5

5
7
7
9
10

12

3 3 3 3 3 3

FIGURE 6
A5
5
7
7
G5
3
5
5
0
E5
1
5
5
13
15
15
!
17
18
20 20

FIGURE 7a

13
12 14 15
FIGURE 7b


15
14 1617
18
17 1920
3 3


FIGURE 7c

13
12 14 15

15
14 16 17
18
17 19 20 17
1
17

15

!
13
FIGURE 8a

7 10
7 9 10

FIGURE 8b
9 12
9 1112

1215
121415

FIGURE 9a

C#m75
8fr
T 2 3 1
7 9
7 10
FIGURE 9b

7 9
7 10
7 9
7 10

FIGURE 9c
A7
5 7 9
7 10
7 9 11
9 12
10 12 14
12 15
1/2
14 14 14 12
1/2
!
15
12
13
14

5 5 5 3
IVE FOUND IT VERY helpful as
a guitarist to familiarize myself
with the layout of the keyboard
on a piano. This in turn has
made it easier for me to visual-
ize patterns on the guitar fret-
board. A quick look at the black keys on
a piano reveal the logic with which they
are laid out: starting on the far left and
moving right, there are two blacks keys
followed by three black keys, and the
pattern repeats across the entire key-
board. The great thing for piano play-
ers is that any scale, chord or musical
phrase in one position and octave can be
easily moved to another because it will
look exactly the same; you only have to
memorize its shape.
The guitar, however, is not like this;
depending on the string or fretboard
position, the shapes of scales and
riffs can change quite a bit, even when
playing exactly the same notes. But Ive
developed an approach to the guitars
fretboard wherein you can use the same
shapes, and very easily move them
through different octaves.
As shown in FIGURE 31, there is an A
note located on the sixth strings ffth
fret, another A one octave higher lo-
cated on the seventh fret of the fourth
string (two strings over and two frets
higher), and another A located at the
10th fret on the second string (two
strings over and three frets higher).
Its very valuable to memorize the
positions of these three A notes, because
the patterns of many licks based around
one of these A notes can easily be moved
to either of the other two A notes. This
is especially true if the lick falls on the
sixth and ffth, fourth and third, or sec-
ond and frst strings, because these pairs
of adjacent strings are tuned in fourths,
and the shape of any lick on these pairs
of strings will be identical.
A simple example is an A5 power
chord: FIGURE 32a combines an A root
note on the sixth string with an E note,
which is the ffth, on the ffth string; you
can move this shape up an octave to the
fourth and third strings, two frets high-
er (FIGURE 32b), or the second and frst
strings, three frets higher (FIGURE 32c).
FIGURE 33a illustrates an A major triad
(A Cs E) played on the bottom two
strings; we can move this same trian-
gular shape over to the other A notes
(FIGURES 33b and 33c) and yield the same
musical result in higher octaves.
In comparison, fngering the notes of
this arpeggio across all of the strings in
one position would give us something
like what is illustrated in FIGURE 34,
10 GUITAR WORLD
FIGURE 31
FIGURE 39a
SHAPE SHIFTING
HOW TO ORGANIZE PATTERNS ON THE FRETBOARD
CHAPTER 8
FIGURE 32 FIGURE 33
FIGURE 34 FIGURE 35
FIGURE 36 FIGURE 37a FIGURE 37b
FIGURE 37c FIGURE 38a
FIGURE 38b FIGURE 39b
FIGURE 39c

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5

FIGURE 1 B Phrygian dominant mode


B7(9)
7 8 11
7 9 10
7 9 7
10 9 7
11 8 9
FIGURE 2a

B7(9)
8 11 12
8 11 12 11 8
12 11 8

......
,
,
freely

FIGURE 2b
B7(9)
8 11 12
8 11 12 11 8
12 11 8 11 12
8
12 11 8 11 12
8 11 12 111211 8
12
8 11 8
12
8
12 11
8
12 11
5
,
,
8 11 12
8
1
11 12 12 12 11 8
12 11
!
8
12 11 8 11

,
.......
FIGURE 3a

B7(9)
11 12 14
11 12 14
11 12 14
11 12 14
3 3 3 3
,
,
,
,

FIGURE 3b
B7(9)
8
8
11
11
12
12
14
14
12
12
11
11
8
8
......
FIGURE 4

B7(9)
14 16 17
14 15 17
-..
11 12 14
11 12 14
-...
8 11 12
!
8 11 12 12
-
....
3 3 3 3 3 3
,
,

FIGURE 5
B7(9)
8 11
12
8 12 111211 8
12
8 11 8
12
8
12 11
8
12 11 8 11 12 14
11 12 14
1/2
14 14 12 11 1112 12 11
14
11
3
,
,
,
,
14 12
11
14 12 11
17 17 14 14 15 15
17 17
14 14
16 16 17 17
....
14 14 16
-
,
,
14 16 17
14 15 17 15 17 15 14 14 15 14
17
14
17 16
14
17 16

14 11 12 14
11 12 14
3 3
3 3
3 3
3
12141211
14
111214
14
11
1412
11
1412

11 8 1112
811 1112 11 12 8
12
811 8
12
8
1211
8
1211
!
1
8
10

10
.....
5 3 3 3 3 3 3 3 3 3
,
,

FIGURE 6
7 4 0 8 5 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
3 3
,
,

12 12 8 0 10

1
......
.
FIGURE 7

*
grad. increase speed
8
12 10 8
11
8
12 10 8
11
= upstroke

-= downstroke

5 5
IN THIS CHAPTER, Id like to
talk about what I refer to as
snake-charming licksmy
slang term for licks built from
the Phrygian-dominant mode,
the ffth mode of the harmonic
minor scale. The notes of the E har-
monic minor scale are: E Fs G A B C
Ds. To form the ffth mode of this scale,
start from the ffth scale degree, B, and
proceed up one octave while using the
same notes; the resulting scale, shown
in FIGURE 40, is B Phrygian-dominant
and is spelled: B C Ds E Fs G A. Notice
that this scale fngering requires a bit
of a stretch on the low E string: while
rooted in seventh position, the pinkie
has to reach up to the 11th fret, which
is one fret higher than the standard,
and more comfortable, four-fret span of
many scales.
Lets begin with a series of string-
skipping licks. When possible I like
to devise easy fngerings, and the lick
shown in FIGURE 41a, utilizes the same
fngering on both the G and high E
strings: I begin with the index fnger at
the eighth fret on the G string, followed
by the ring fnger at the 11th fret (a bit of
a stretch) and the pinkie at the 12th; the
exact same frets and fngers are used
on the high E string. Instead of simply
playing this riff up and down, move it
around a little and use hammer-ons and
pull-offs, as shown in FIGURE 41b.
Now lets move the concept up to the
next fretboard position: As shown in
FIGURE 42a, I use the 11th, 12th and 14th
frets on both the G and high E strings.
You can even link these two positions
using two-note chords, as shown in
FIGURE 42b, which is a nice way to har-
monize B Phrygian-dominant.
Lets move up the concept one more
time, to 14th position. Here we have to
change the fngering slightly: 14-16-17
frets on the G string and 14-15-17 frets
on the high E. FIGURE 43 then links these
three positions together. Now that you
have the shapes, try creating improvised
patterns and different ways to connect
the positions, as shown in FIGURE 44.
Heres another great lick: FIGURE 45
incorporates a series of double pull-offs
from various positions. Because were
in the key of B, we can take advantage of
our open B string. FIGURE 46 is based on
a fve-note sequence that sounds great
when cycled repeatedly: start with an
upstroke, followed by a downstroke and
two pull-offs, and end with a down-
stroke. Five is a weird number for a rock
lick, but if you play it fast enough, youll
feel the pulse of the downbeats.
11 GUITAR WORLD
SNAKE-CHARMING LICKS
THE FIFTH MODE OF HARMONIC MINOR
CHAPTER 9
FIGURE 40 FIGURE 41a
FIGURE 41b
FIGURE 42a
FIGURE 42b FIGURE 43
FIGURE 44
FIGURE 45
FIGURE 46
12 GUITAR WORLD

ONE OF THE MOST important


things about playing rock and
roll guitar is to make big rock and
roll motions. If you see a guitarist
whos playing with the tiniest of
physical motions, its not very
exciting to watch. But a guitarist thats
bouncing and moving around, swinging
his arms and playing rhythm or lead with
real energythat, to me, is much more
exciting and much more rock.
Its not always easy to play the elec-
tric guitar with such physical abandon,
because its diffcult to maintain perfect
control over a cranked-up guitar and
amp. When playing just one string, you
have to control the other fve so that they
will not make any unwanted noises.
The solution is to use various parts
of your fret-hand fngers and thumb to
mute different strings. In FIGURE 47, Im
picking across all six strings while using
the fret hand to block every string except
the fourth, on which Im fretting and
shaking notes with my ring fnger. The
top three strings are muted by the under-
side of the index fnger, the ffth string is
muted by the tip of the ring fnger, and
wrapping the thumb over the top of the
neck mutes the sixth string.
Another useful way to mute is to
use what I call pick muting: after
picking a note with a downstroke, I
immediately stop the string from ringing
by lightly touching it with the pick on
the upstroke. Likewise, after picking an
upstroke, I immediately touch it lightly
on the downstroke. As demonstrated in
FIGURE 48, this produces a staccato sound,
which means very short in duration. In
FIGURE 49, I begin by allowing the notes
to ring as long as possible (known as
tenuto articulation), and then I switch to
a staccato attack. In both examples, I use
alternate picking throughout, alternately
damping the string with either an
upstroke or a downstroke; this is more
clearly illustrated in FIGURE 50.
Using this technique, you can create
some really great aggressive-sounding
licks, like the ones shown in FIGURES 51a
and 51b: both of these freely improvised
phrases combine the staccato attack with
the legato (smooth) sound of hammer-
ons and pull-offs.
You can, of course, gain further con-
trol over the strings by additionally palm
muting them, laying the edge of the pick-
hand palm across all of the strings at the
bridge saddles.
The sooner you master these muting
techniques, the sooner youll be able to
rock out and still play with a good mea-
sure of control over your instrument.
,
,
,
,

3
FIGURE 1
X
X
X
7
X
X
3
X
X
X
9
X
X
....
3
X
X
X
10
X
X
....
3
X
X
X
X
12
X
.... ....
3
X
X
X
X
14
X
3
X
X
X
X
15
X
....
3
X
X
X
X
X
17
....
3
X
X
X
X
X
19
.... .....
FIGURE 2 pick muting

*
* = staccato; play note as short as possible.

,
,
,
,
,

FIGURE 3
*
* = tenuto: allow note to ring as long as possible.

,
FIGURE 4

*
*
= upstroke
= downstroke
5

-
5

-
5

-
5

-
5

,
,

FIGURE 5a
(Am)
1/2
7
5

7 8 7 5
8

8
sim.
5

1/2
8 7 5
7 5
7 5 7 5
7
5
7 6
5
1/2
7 6 5
7
3
3
6
5
7 6 5
8 5 3 5
....
3

5 3
...

5
5

7
5 6 7
1/2
5
7
7 5
7 5 7
....
8

10

11

3
,
,
sim.
10 11 10 8
8 10 11 10 10 10 11 10 11 10 8
10
10
10
8
10 8
9
8 10 13
........
5
,
,

FIGURE 5b
(Am)
12

15

12

13

14

12

14

121412
14

12

13

14

sim.
13

14

15

12

14 15 14151412
13
12
12 14
14
1214
12
13
14 12
14 13
3
5

,
,
,
12
14 13 12
15 12 10 12
10 12 13 12 13 12
1/2
10
12
12
12
10
12 10
12
10 11 12

.......
12 12
3
,
,
11
10
12 11
10
12
13 10
1/2 hold bend
14

14

14

14

1/2
13 14 14
1/2 grad. bend
14 14 10 10 10 10
1/2
10 10 10 10
rit.
rit.
10101010
1
10101010101010
...
10 10 8
10
10
,
8
3
1
10 8
10 9 8 5
8 7
1/2
5
8 7 5
1/2
7 5
7 6
A7sus4
5
8 5 3 5
7
5
7
5
5

,
3 3
,
,
,
,

3
FIGURE 1
X
X
X
7
X
X
3
X
X
X
9
X
X
....
3
X
X
X
10
X
X
....
3
X
X
X
X
12
X
.... ....
3
X
X
X
X
14
X
3
X
X
X
X
15
X
....
3
X
X
X
X
X
17
....
3
X
X
X
X
X
19
.... .....
FIGURE 2 pick muting

*
* = staccato; play note as short as possible.

,
,
,
,
,

FIGURE 3
*
* = tenuto: allow note to ring as long as possible.

,
FIGURE 4

*
*
= upstroke
= downstroke
5

-
5

-
5

-
5

-
5

,
,

FIGURE 5a
(Am)
1/2
7
5

7 8 7 5
8

8
sim.
5

1/2
8 7 5
7 5
7 5 7 5
7
5
7 6
5
1/2
7 6 5
7
3
3
6
5
7 6 5
8 5 3 5
....
3

5 3
...

5
5

7
5 6 7
1/2
5
7
7 5
7 5 7
....
8

10

11

3
,
,
sim.
10 11 10 8
8 10 11 10 10 10 11 10 11 10 8
10
10
10
8
10 8
9
8 10 13
........
5
,
,

FIGURE 5b
(Am)
12

15

12

13

14

12

14

121412
14

12

13

14

sim.
13

14

15

12

14 15 14151412
13
12
12 14
14
1214
12
13
14 12
14 13
3
5

,
,
,
12
14 13 12
15 12 10 12
10 12 13 12 13 12
1/2
10
12
12
12
10
12 10
12
10 11 12

.......
12 12
3
,
,
11
10
12 11
10
12
13 10
1/2 hold bend
14

14

14

14

1/2
13 14 14
1/2 grad. bend
14 14 10 10 10 10
1/2
10 10 10 10
rit.
rit.
10101010
1
10101010101010
...
10 10 8
10
10
,
8
3
1
10 8
10 9 8 5
8 7
1/2
5
8 7 5
1/2
7 5
7 6
A7sus4
5
8 5 3 5
7
5
7
5
5

,
3 3
,
,
,
,

3
FIGURE 1
X
X
X
7
X
X
3
X
X
X
9
X
X
....
3
X
X
X
10
X
X
....
3
X
X
X
X
12
X
.... ....
3
X
X
X
X
14
X
3
X
X
X
X
15
X
....
3
X
X
X
X
X
17
....
3
X
X
X
X
X
19
.... .....
FIGURE 2 pick muting

*
* = staccato; play note as short as possible.

,
,
,
,
,

FIGURE 3
*
* = tenuto: allow note to ring as long as possible.

,
FIGURE 4

*
*
= upstroke
= downstroke
5

-
5

-
5

-
5

-
5

,
,

FIGURE 5a
(Am)
1/2
7
5

7 8 7 5
8

8
sim.
5

1/2
8 7 5
7 5
7 5 7 5
7
5
7 6
5
1/2
7 6 5
7
3
3
6
5
7 6 5
8 5 3 5
....
3

5 3
...

5
5

7
5 6 7
1/2
5
7
7 5
7 5 7
....
8

10

11

3
,
,
sim.
10 11 10 8
8 10 11 10 10 10 11 10 11 10 8
10
10
10
8
10 8
9
8 10 13
........
5
,
,

FIGURE 5b
(Am)
12

15

12

13

14

12

14

121412
14

12

13

14

sim.
13

14

15

12

14 15 14151412
13
12
12 14
14
1214
12
13
14 12
14 13
3
5

,
,
,
12
14 13 12
15 12 10 12
10 12 13 12 13 12
1/2
10
12
12
12
10
12 10
12
10 11 12

.......
12 12
3
,
,
11
10
12 11
10
12
13 10
1/2 hold bend
14

14

14

14

1/2
13 14 14
1/2 grad. bend
14 14 10 10 10 10
1/2
10 10 10 10
rit.
rit.
10101010
1
10101010101010
...
10 10 8
10
10
,
8
3
1
10 8
10 9 8 5
8 7
1/2
5
8 7 5
1/2
7 5
7 6
A7sus4
5
8 5 3 5
7
5
7
5
5

,
3 3
UNITED MUTATIONS
MASTERING MUTING TECHNIQUES
CHAPTER 10
FIGURE 47 FIGURE 48
FIGURE 49 FIGURE 50
FIGURE 51a
FIGURE 51b
13 GUITAR WORLD

BEING A FULL-TIME guitar


player is an amazing experience.
Ive had this job for the past
20 or so years, and its brought
me a great deal of happiness.
Ive often thought about the
most important aspects of my job. One
is that, when I perform, its not neces-
sarily essential that I play all the notes
perfectly or in a technically pristine
manner. More important is that I have
a great time. If I am really having fun
onstage, that energy translates to the
audience and they have a great time too.
Of course, if I hit lots of wrong notes, I
defnitely wont be having a good time.
But if I hit one bad note and in my mind
Im thinking, I dont carethe rest of it
is great, then everything is cool. Its all
about enjoying having the opportunity
to perform music.
This brings me to the matter of the
difference between being a bedroom
guitarist and one who is experienced
and comfortable playing live in front of
people. Im of the frm belief that when
performing onstage you should play
the guitar with more than just your
fngersyou should play with your
entire body.
I performed at a tribute to the
Who last year, and had to follow Pete
Townshends lead when it came to rec-
reating his parts. Pete absolutely does
not play with just his hands; he uses
his whole body, including his back,
torso, legs and arms. Its a stunning
experience to play Who songs with the
mindset of being a vessel for the music,
as Pete does. The Whos music is very
high-energy, and it feels great to stand
up and play it with all your might.
One of the frst times that I really
got it and understood what this
meant was when I was listening to Jimi
Hendrix. I shouldnt say listening,
because my parents gave me a couple
of Hendrix albums when I was young,
and I did like them, but the thing that
really got me excited was when I saw
a Hendrix movie, and suddenly I could
watch how he played, and how he
moved when he played. For example,
he took a very simple string-bending
lick, along the lines of FIGURE 52, and
just shook the earth with the thing by
adding such physical force and rhyth-
mic drive to it. There was so much
power in his playing, and I thought,
Oh, thats itthats why people keep
talking about Hendrix.
To play rock music back in those
days, you had to get together with
other musicians and crank up the amps
loud, as opposed to simulating this via
using Pro Tools in your bedroom. This
is why so many musicians of Hendrixs
era tended to be good at delivering
powerful musical statements to the au-
dience. I encourage you to get together
with other musicians and fnd a place
where you can crank it up.
There are an infnite number of
things to be learned from live perfor-
mance. An obvious one is getting over
making a mistakeif youre used to
merely hitting undo on your key-
board, you wont know how to deal
with it when you are onstage.
All the pioneers of rockJimi
Hendrix, Pete Townshend, Eric
Clapton, Jimmy Page and Eddie Van
Halen, to name a fewlearned these
valuable lessons early on. When you
think of young Eddie jamming in his
basement with his brother Alex, you
can envision how the two of them
learned to play together like they were
one person, or like musical twins. If
you can build musical relationships by
fnding musicians you enjoy playing
with, and do so over a long period of
time, you will increase the likelihood of
making magic come out of your guitar.
So play with other musicians as often
as you can. If you know that the drum-
mer is showing up at seven oclock, it
will motivate you to get your act to-
gether. Ive written many a song using
that specifc motivation.
Heres another tip: Even if you are
playing some terrifying shred-type
licks, you should end the solo with as
much expression as you can muster.
For example, if you play something like
FIGURE 53, which features some blaz-
ingly fast shredding, end things with
an expressive bend and some extreme
body movement, in order to send it off
with a big exclamation point. Try to
harness as much energy as possible and
channel it into your playing.
This wraps up our the Shred Alert.
I hope youve learning the techniques
Ive taught you, and that they help your
playing to improve and become more
expressive.
,
,

FIGURE 1
.

1
7
,
Th
N.C.(A)
7 5
7 5
5
X
7

5
X
7

1
5
X
7

7 5
7 5
1
Th
7 7 5
1
5
X
7 5
7 7 5
5
X
7 5
1
7 7 5
G5
5
X
7
X
X
X
3
5
5
3
5
5

3
5
5
3
5
5
3
5
5
3
5
5
,
,

FIGURE 2
E5
13 12 13 12
15
1215 15 13 12
14
12 13 15
12 14 12 14 12
15
12 15 14 15 14 12 15 14 15 14 12
15
6 7 3
7
5 5
12
15 13 15 13 12
14

11 12 13 15
12
15 13 15 13 12 12 11
14
11 14 12 14 12 11 14 12 14 12 11
14
11
14
7
9 9
12141211
14
111211
14
111412141211121119
12
9
12111211 9
12
9
12
grad.
bend
1
101210 9
12
9
10
-
0

,
.
9 5 5 9 6
BREAKIN OUT
THE BLESSINGS AND BENEFITS OF LIVE PERFORMANCE
CHAPTER 11
FIGURE 52
FIGURE 53