Shred lessons...

[LordThurisaz]

Anyone interested in shred lessons? I do some for this Kiss forum I visit, and just wondered if anyones interested in some shred tips for electric guitar? On the Kiss site, it's geared more towards Vinnie Vincent (whom was the first to use the RRV model after his passing), but there are some tips for Randy stuff there, and if I did one here, it'd be more geared to Randy.

So, if you'd like to see what I have to offer, or would like to request tips or whatever, just ask. I'll try to answer in a timely fashion.

Thanks for you time, and I hope you be able to help at least one player understand the guitar better.

Keep it metal. \m/

[Trigger]

Go for it, all styles are welcome here

[Cpt Matt Sparrow]

Hi lord

Have you got any economy picking exercises. I am having to neglect my elextric playing alot at the moment (I have lots of Classical and Jazz finger stuff I am involved with) and have started to by accident use economy picking and i like it.

My picking is the first thing to go when I neglect

What would you recommend?

Matt

[LordThurisaz]

Hi lord

Have you got any economy picking exercises. I am having to neglect my elextric playing alot at the moment (I have lots of Classical and Jazz finger stuff I am involved with) and have started to by accident use economy picking and i like it.

My picking is the first thing to go when I neglect

What would you recommend?

Matt

I do have some things about Economy Picking. Visit the link in my signature. This is also a good key piece of advice: "The aim is to minimize movement in the right hand, and avoid the motion of "jumping" over a string prior to picking it, as often occurs in alternate-picking." You should also decide if you're an "outside" or "inside" player. If you were to pick to strings, would you upstroke on the B string and downstroke on the high e string (Imagine just picking two notes between the two strings.)? That would be inside playing; if you don't do that, you use outside picking. I'm working on a lesson, built but expanded upon from the Troy Stetina Speed Mechanics book; I'll try to post it later today. Also, me personally, I start my lead lines with an upstroke, and use strict alt picking. That could be another good tip if economy picking is giving you a fuss. Perhaps you can try mixing melody lead lines with sweep arpeggios, because I'm a believer if you can run the mile, you can do the 100m dash.

Hope this helps Matt, if not, I'll be back later with some lessons hopefully. Unfortunately, they won't contain clips, but I want to go more of a "play it as you see fit, personal pulse" type of thing so you don't have to form your playing to mine, which I see a lot of people doing when they have samples for lessons.

Cheers.

[Cpt Matt Sparrow]

Hi Lord

Thanks for the that! Yeah I am an upstroke player.

I don't know why for 17 years I have never considered economy picking. I will check out your site now

Matt

[Cpt Matt Sparrow]

I have just registered and it is a fabulous informative thread.

Any chance you could talk with trigger and get some of these exercises here?

It is great we have three styles covered. this section will only grow too.

Thanks again. I am teaching in 20 minutes again and economy picking is on my mind!

[LordThurisaz]

I have just registered and it is a fabulous informative thread.

Any chance you could talk with trigger and get some of these exercises here?

It is great we have three styles covered. this section will only grow too.

Thanks again. I am teaching in 20 minutes again and economy picking is on my mind!

I could possibly copy and paste some of the exercises from there to here if they are wanted. I wrote most of the lessons, except a few things that are taken from other websites, mostly used for what I called "extended learning". I think I'll contact Trigger and ask him which of the lessons from the site in my signature should be copied to this lesson, and then I'll make updates to both this thread and the one over at Kissfaqs. Hopefully I have been of help and I hope to help more within time.

[Paul Wolfe]

Hi lord

Have you got any economy picking exercises. I am having to neglect my elextric playing alot at the moment (I have lots of Classical and Jazz finger stuff I am involved with) and have started to by accident use economy picking and i like it.

My picking is the first thing to go when I neglect

What would you recommend?

Matt

Matt, Frank Gambale has a great video on sweeping/economy picking.

[LordThurisaz]

Exercises will appear randomly, with just the bare minimum of explanation. This is mainly just to get you prepared for the lesson.

This first excercise will be for speed. You should start slow, and can mess around with the picking pattern that is most comfortable, as well as quickly executable for you.

Legend
/ = slide up.
\ = slide down.
~ = vibrato.
^ = full step bend.
B = half step bend.
b = 1/4th step bend.

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 Example 1
  It says 4, but repeat as needed.
e|-------------x4|--------------------------------------------------|
B|---------------|--------------------------------------------------|
G|o-------5-----o|--------------------------------------------------|
D|o-5-7-9---9-7-o|-5-7-9-7-5---7-5-----5----------------------------|
A|---------------|-----------8-----8-7---8-7-5---7-5-----5----------|
E|---------------|-----------------------------8-----8-7---8-7-5^~--|
I have it on the low strings because it's harder to do for me than the high strings.

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 Example 2
e||----------------------------------------------------------------------------||
B||--------------------------------------------------------------3-------------||
G||o-------------------------5--------------------8---------------------------o||
D||o-------------------------------------5/7-9-10---10-9-7\3-5-7---7-5-3------o||
A||----------8~--------5-7-8---8-7-5-7-8---------------------------------/8p7--||
E||--8-7-5-7-----7h8p7---------------------------------------------------------||

You'll notice the previous two examples are written so that a part, or all of it can be looped. This is just to get you used to moving around the fretboard, both vertically in a box, and horizontally in a scale.

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 Example 3
|-------------------------------------------5-|------------5-8-5----|-------5-7-8-7----|
|-----------------------------------------6---|--------5-8-------8--|-5-6-8---------8~-|
|-------5-------5~-------7----7---7-----7-----|o-7p5h7-------------o|------------------|
|-7h8p7---7h8p7--------9---10---9---9\7-------|o-------------------o|------------------|
|------------------/10------------------------|---------------------|------------------|
|---------------------------------------------|---------------------|------------------|

Practice these examples and I'll be back with my picking lesson.

[LordThurisaz]

Picking -- Lesson #1
Legend - Same is before. Add -- PK:u = downstroke, ^ = upstroke. Think of Guitar World tabs.

There are many options to picking a piece of music. For this lesson, we will deal with downstroke only picking, and strict alternate picking.

Please, with these lessons, slow yourself down, almost dreadfully slow. This will get yourself accustomed to the picking patterns and their sound. Play with a clean tone and get your picking as precise, clean and remember to utilise 'economy-of-motion', both picking and fretting wise.

Before we begin the instructional lessons, ^ is up, and u is down, to represent the look of picking indications in popular guitar magazines, like Guitar World and Guitar Player.

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 Example 1
First things first, downstroke picking.
e|---------------------------------7-9-10-|
B|--------------------------7-8-10--------|
G|--------------------6-7-9---------------|
D|--------------5-7-9---------------------|
A|--------5-7-9---------------------------|
E|--5-7-9---------------------------------|
PK: u-------------------------------------
Simple enough, huh?  Alright, lets begin Alternate picking.

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 Example 2
e|------------3-5-7-5-3----------|
B|------3-5-7-----------7-5-3----|
G|o-4-6-----------------------6-o|
D|o-----------------------------o| repeat as needed
A|-------------------------------|
E|-------------------------------|
PK: u ^ u ^ u ^ u ^ u ^ u ^ u ^ u

Tip:  Make sure to follow and pay close attention to the down up down up throughout the passage as you pick each note clean and precisely.

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  Example 3 - This next part is for those struggling on upstrokes in alt picking.
D|-------------------------/9-------|
A|-----------------5----------7-----|
F|---------4---------4----------6---|
C|--4--------4---------2----------4-|
G|----4--------2---------2----------|
D|------2--------2------------------|
PK: ^-------------------------------

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QUIZ -- here's to see who has paid attention. (ph = Pinch Harmonic)
e|---------------------------5--------------------------------------|
B|-5-8-5---5-8-7-8-5---5-7-8---8-7-5--------------------------------|
G|-------7-----------7---------------7-5h7p5---5-7-5h7p5\4----------|
D|-------------------------------------------7-------------7-5ph^~--|
A|------------------------------------------------------------------|
E|------------------------------------------------------------------|
   u ^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u     ^ u ^ u       ^ u

Let's hope you passed. If not, ask questions for tips or pointers. Getting this down is only going to make guitar playing easier, so keep trying and rememebr the old saying: Practice, practice practice; it makes perfect.

[LordThurisaz]

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Some things to always keep in mind: 
1.  Check your tuning often.  Having a stable tuning can help your process a long, in that each time you play the same sweep, it doesnt sound different each time. 
2.  Pick the best strings for you.  If the strings you use are too thick, then change em to something thinner. 
3.  Use a variety of different picks until you decide which is best for you. 
4.  Use a generous amount of mids.  Don't over do it, but dont scoop them either.  May even be a good idea to practice this stuff with a clean channel to get everything perfect. 
5.  Last but definitely not least, warm up and keep your hands, arms, etc (everything in your body) relaxed.  Tense up nowhere.  This just makes it harder to accomplish and can lead to injuries.  This will also help keep picking precise and usually you'll find you won't have to move a whole lot when sweeping or alt picking.

So, last time we discussed downstroke and alternate picking. This time around, we are going to look at are refered to as downstroke and upstroke pick 'sweeps'. Think of a violin's arpeggio's, and you've got the general idea.

Tips for sweep picking.
1. Make sure you quiet each note down after releasing it; this means using both hands to mute while playing sweeps.
2. This is not like an arpeggio where each note rings out. The key is that each note is separate, and when you can work it up after practice, preferably quite fast.
3. Get down shapes and whatnot, getting your fingers as close to the string without fretting it. Economy of motion.
4. If two notes are adjacent such as in this first example, "roll" your finger from tip, down. You also want your fingers to kinda roll up and own with a pendulum-esque picking style.

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This first example is going to include both down and upstroke sweeps.
e|--------6---------2h5p2-----------2h5p2-------|
B|------6---4-----4-------3-------3-------3-----|
G|----5-------3h5-----------2---4-----------4---|
D|--3-------------------------4---------------2-|
A|----------------------------------------------|
E|----------------------------------------------|
PK: u______|^____|u______|^____|u________|^_____|

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Here's a two string style sweep.  A full step bend is option on the B string notes.
e|--15p12----12h15p12----13h17p13----15h19p15----|
B|--------13----------13----------15----------18-|
G|-----------------------------------------------|
D|-----------------------------------------------|
A|-----------------------------------------------|
E|-----------------------------------------------|

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For a challenge, try this.  Same as before with B, and G in this case as well.
e|--15p12----12h15p12----13h17p13----15h19p15----|
B|--------13----------------------15----------18-|
G|--------------------14-------------------------|
D|-----------------------------------------------|
A|-----------------------------------------------|
E|-----------------------------------------------|

e|--15p12----12h15p12----13h17p13----15h19T22^-r22p19p15----|
B|--------13----------------------15---------------------18-|
G|--------------------14------------------------------------|
D|----------------------------------------------------------|
A|----------------------------------------------------------|
E|----------------------------------------------------------|

To amp up the challenge more, mix a bit of the three string and four string sweeps, with the two string sweeps and tapping. Also add some descending modal shredding afterwards for a nice touch to end your lead.

Economy Picking is similar to sweep picking and alternate picking in that some notes are on the same string, so you alt pick, and some are on a string above or below the one you are on, so you'd go in a single motion, not down-up or up-down when crossing strings. Let's examine.

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e|-----------------------------------------------|
B|-----------------------------------------------|
G|-----------12-------------14-15-14-12----------|
D|--15-12-15----14-12-15-12-------------14-------|
A|-----------------------------------------15p12-|
E|-----------------------------------------------|
PK: u  ^  u  ^____|u  ^  u____|^  u  ^__________|

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If you can't quite sweep yet, play this Slayer intro (I refuse to divulge the song, if you wish, you can find out.)
e|------0-------0-------0-------0-------0-------0-------0-------0----|
B|----0---0---0---0---0---0---0---0---0---0---0---0---0---0---0---0--|
G|o-4-------4-------3-------3---------------------------------------o|
D|o---------------------------------4-------4-------5-------3-------o|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|
PK: ^ u__ ^__ u__ ^__ etc. (follow the pattern)

Another Tip: You'll want to angle the pick a certain way. I haven't really consciously noted how I do it, but I do know when I've got it positioned right. I'll slow down some time and examine my playing closely to get more in detail.

QUIZ -- Picking Lesson #2
Like last time, I will have a quiz to see who has it all down. This is to kind of "bring it all together." Later in the week, I will also provide a challenge to you all from a recent Paul Gilbert lesson. Also a nice way to build up sweeping parts that are not true, traditional sweeps but wide inverals and such that sound like them. Back to the quiz.

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e|--15T19p15p12----------12h15/19p15---------15h19T22p19-|
B|--------------13----13-------------17----x-------------|
G|-----------------12-------------------16---------------|
D|-------------------------------------------------------|
A|-------------------------------------------------------|
E|-------------------------------------------------------|

e|-T21p19p15-T17p15-----------|
B|------------------17--------|
G|---------------------18ph~--|
D|----------------------------|
A|----------------------------|
E|----------------------------|

Also, do not be discouraged; I am still working on getting this 100% perfect (in tempo, clean taps and sweeps, etc.)

Taken from: http://www.shredaholic.com/user31.html

Holding the pick:
For sweeping, it is important that you hold the pick with excess plastic showing, but you'll want to hold it with a firm grip around the middle of the pick. The pick should move in a straight sweeping motion, not a strum. This method of holding the pick will increase note clarity and definition.

Unwanted string noise:
In order to prevent this noise you must use your thumb to mute the strings after
you have played the note on that string. You don't mute at the bridge with sweep
picking. Watch some videos of Rusty Cooley or Francesco Fareri to look at their right hands. You'll notice their hand looks a little stranger than normal; that's because they are slightly sweeping their hands like a broom. You can also slide your palm down the strings as you sweep like with palm muting, but try to keep it a string above. If you are used to muting strings while tapping all over the strings, then you'll have an advantage. Alexi Laiho, sweep extraordenaire has been quoted as saying you can also palm mute the strings without hammer-ons and pull-offs, leaving the single note strings slightly palm mute (not super muted like with thrash riffs). As a result of the G string being a major nuissance to a lot of players, they'll just skip it, but still sweep over it with a muted 'x'. I sometimes prefer to skip it outright.

The left-hand:
The left hand technique is important in sweep picking too. The left hand thumb
needs to be placed behind the neck as an anchor, no thumb coming over the top of
the fret board, as this lowers your stretching capability! This sort of thumb placing technique is known as "classical", whereas the thumb-over-neck technique is "rock". Your fingers must glide across the strings. Time must be taken to practice clean with every
single note heard. Speed will come with practice.


Fretting the notes:
You should try to have the lightest touch possible that still sounds the note.
This way you can move your fingers faster. If you have two or more notes on a
string you must use legato techniques (such as hammer-ons/pull-offs, tapping, sliding, bends (such as 12h15^(17)r15p12) to articulate the notes.

Here are some examples of sweep-picked arpeggios, they start off relatively easy
with 3-string arpeggios until ending on 6-string arpeggios with tapping!:

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3-string:
E||--------12h17h12----------12h17h12-------------15h|
B||-----13----------13----13----------13-------17----|
G||--14----------------14----------------14-16-------|
D||--------------------------------------------------|
A||--------------------------------------------------|
E||--------------------------------------------------|
                                                    
--19h15----------15h19h15----------15h19h15-------||
--------17----17----------17----17----------17----||
-----------16----------------16----------------16-||
--------------------------------------------------||
--------------------------------------------------||
--------------------------------------------------||

The key here is to make sure that your right-hand and left hand are coordinated!
You also must make sure that the legato techniques sound clear.

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4-string:
E||--------------16h19h16-------------||
B||-----------18----------18----------||
G||-----16h19----------------19h16----||
D||--18----------------------------18-||
A||-----------------------------------||
E||-----------------------------------||

With this diminished arpeggio you need to watch the hammer-on from the B to the
D as it can prove tricky at first. Otherwise this shouldn't pose too much of a
problem if you have mastered the 3-string arpeggios (I personally offer the advice of learning Ace-style two string sweeps). You can move this
arpeggio around the fret board in a sequence if you like ALA Yngwie!

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5-string:
Minor:
E||-----------------12h17-12----------------||
B||--------------13----------13-------------||
G||-----------14----------------14----------||
D||--------14----------------------14-------||
A||--12h15----------------------------15h12-||
E||-----------------------------------------||

This example is a two-octave A minor arpeggio across 5 strings. The key with
this is to maintain clarity even with the 3rd finger barre across the notes E
and A. Apart from that these won't provide too many problems for you. (Hint:
Try linking these licks, you'll have to transpose them into the write key
signatures. You can use licks like this for sequences where you need speed and
aggression!)

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Major:
E||-----------------12h17h12----------------||
B||--------------14----------14-------------||
G||-----------14----------------14----------||
D||--------14----------------------14-------||
A||--12h16----------------------------16h12-||
E||-----------------------------------------||

Essentially these 5 string major arpeggios are quite easy. The only thing you
need to be aware of is note clarity in the 3 string barre.

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6-string:
E||--------------------12-15-12-------------------||
B||-----------------12----------12----------------||
G||--------------12----------------12-------------||
D||-----------14----------------------14----------||
A||--------14----------------------------14-------||
E||--12-15----------------------------------15-12-||

This example is E minor arpeggios across six strings; the main difficulties here
are note clarity, you must make each note stand out, and secondly you must keep
the right-hand technique consistent throughout.


Tapping with these arpeggios:
When tapping you must make sure that the note is the same value as all the
others, you must think of the technique as having an extra left-hand finger,
rather then just hitting the given fret.

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E||--------------------12h15-19t15h12----------------|-----||
B||-----------------12----------------12-------------|-----||
G||--------------12----------------------12----------|-----||
D||-----------14----------------------------14-------|-----||
A||--------14----------------------------------14----|-----||
E||--12-15----------------------------------------15-|--12-||

Hope you've enjoyed this lesson, and also taken away the most important
elements of sweep picking. Remember, these are just examples of arpeggios you
can do with this technique. You need to explore to find better, more
interesting and musical arpeggios, so that you can use them in your own playing!

Lastly before leaving you to your guitars, a cool thing to do is to add 3 string sweeps with 4 and 5 string, or even 6 string sweeps, as well as some 2 string sweeps to throw people off occasionally. Experiment with tapping and slides, Also, none of these lessons have stated this, but you can take some notes and not use the rest, such as the A, D, G, and B string notes in the six string sweeps, and use all of the notes, but the hammered on notes, etc.

Happy Shredding.

Shred 'til You're Dead,
LordThurisaz.

[LordThurisaz]

Timstar78 was recently contacted by me, and he gave me the idea to go over some of Vinnie's lead lines as a source of instruction. I have decided to dissect a solo from Lick it Up, hope you all enjoy.

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How to play A Million to One's solo by Vinnie Vincent.

This will start the solo.  Don't turn on overdrive/boost/solo mode yet...
E|----------------------------------------------------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|--12\-----------------------------------------------|


Solo 
(...NOW!)  Turn OD/Boost/solo mode on prior to release on the bar.
Pre dump bar, hit the open E, and release.  Slide up to 14 from nowhere and slide back out.
Bend the D note on B, 15 up to resemble an E, 17, hold, release.  Bend 15 back up to same position, vibrato, hold it out via aforementioned vibrato, release, and pull off to 12.
E|----------------------------------------------------|
B|---------------------15b--r15---15b~----r15p12------|
G|----------------------------------------------------|
D|-----------/14\-------------------------------------|
A|----------------------------------------------------|
E|--(/)0----------------------------------------------|


Bend A note, 14, on G up to a B note, 16.
Hit normal 15 on B, then vibrato 14 on G, no bend up to B.
Play 12 on G, hammer-on 14, pull off to 12 and slide down to 11.
Hold out a normal E note, 14 on D, then hit a D note, 12, on D.  Hammer to E, 14, and bend up to a G, resembling a 17 on D.
E|----------------------------------------------------|
B|-------15-------------------------------------------|
G|--14b------14~---12h14p12\11------------------------|
D|-----------------------------14----12h14b^^---------|
A|----------------------------------------------------|
E|----------------------------------------------------|


First off, with this lick, to get it absolutely perfect, I would concentrate on the first 7 notes.
Make sure the dual note slide on the low strings is executed in time and make sure not to end too fast or slide out too fast.
Bend the E note, 12 up to an F#, 14, on the E string.  
Then, play a normal fifteen.
E|-----------------------------------12b-----15-------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|--12h14p12------------------------------------------|
A|-----------14-12-14-14~---12\-----------------------|
E|--------------------------12\-----------------------|


Play a second 15, this time bending the G note up to an A and then releasing.
Play a normal twelve, and then cross to the A note on G, 14, and bend it up to a B, then release.
Play a G note, 12, on the same string and add vibrato.

TAPPING SECTION (You may want to slow this down if you are having difficulty).
Cross back down to the E string, to tap an F# with your right hand.
Tapping the F# onto an open string will help it pronounce the note more.
You'll want to have a slight flick when you pull off the F# tap to a B, and then hammer on to D.
Like a keyboard, when you tap that F# each time, you'll want to remove both fingers from the string at frets 7 and 10.  Watch some videos of Eddie Van Halen tapping, and his fingers sorta bounce off the string, with his left hand not touching the string when tapping with the right hand.  You'll also want the palm of your right hand to mute the other strings so various overtones don't ring out.  Tap the 14p7h10 sequence 4 times.
E|--15b--r15--12---------------------t14-7h10---------|
B|----------------------------------------------------|
G|-------------------14b-r14-12~----------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
                                    <4x>

Move the tapping finger to 15 (x4), then 17 (x4), then 19 (x2).
As for the 17/19-22b~, I like to slide my tapping finger from 17 to 19, and then bend and vibrato at the 10th fret, with the bend going from D to E.
E|--t15-7h10--t17-7h10--t19-7h10-t19-7h10-17/19-22b~--|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
   <4x> <4x>

Here's the full solo tab so you don't have all my babbling in the way:

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E|----------------------------------------------------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|--12\-----------------------------------------------|

Solo
E|----------------------------------------------------|
B|---------------------15b--r15---15b~----r15p12------|
G|----------------------------------------------------|
D|-----------/14\-------------------------------------|
A|----------------------------------------------------|
E|--(/)0----------------------------------------------|

E|----------------------------------------------------|
B|-------15-------------------------------------------|
G|--14b------14~---12h14p12\11------------------------|
D|-----------------------------14----12h14b^^---------|
A|----------------------------------------------------|
E|----------------------------------------------------|

E|-----------------------------------12b-----15-------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|--12h14p12------------------------------------------|
A|-----------14-12-14-14~---12\-----------------------|
E|--------------------------12\-----------------------|

E|--15b--r15--12---------------------t14-7h10---------|
B|----------------------------------------------------|
G|-------------------14b-r14-12~----------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
                                    <4x>

E|--t15-7h10--t17-7h10--t19-7h10-t19-7h10-17/19-22b~--|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
   <4x> <4x>

Since this is a longer, more 'busy' solo, I will do the dissection a bit different than a step by step left hand direction process. This time, I will give finger positions as a guide of how the parts should be played as well as additional tips. This is Randy Rhoads' solo to the studio track "Over the Mountain", and I remember first starting to shred learning the solo up to the wacky whammy stuff. (Wacky because I dont have a whammy, that is). It is in Eb standard tuning. My ears tell me that me from Randy's body of work he may've had a bit of an Ace Frehley influence. What's ironic is there are also spots where it wouldn't be far fetched to say that Vinnie Vincent took some mental notes from this solo. Anyways, here we go.

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With this bar, make sure you try to replicate Randy's vibrato as closely as possible, and watch where your fingers are going.  Try to follow my fingering suggestion below because this was the easiest for me.  To me, this is kinda more the "set up" for the solo, rather than being apart of the full solo itself.. kinda like a car warming up, and then taking off at 70MPH.
|-------------------------------------------------------|
|-------------------------------------------------------|
|------13~----------------------------13~----------16~~-|
|-----------12~----11---9------------------12~----------|
|-11~-----------------------9--9/11~--------------------|
|-------------------------------------------------------|
  1    4    3      2    1   1  1/1    2    1       4

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The beginning three notes lend themselves to a downstroke sweep from the G to e strings.  The next set of patterns is pretty common to metal and rock of the day, and I have separated each little blues sweep pattern for those needing some help getting this down.
-------16-19-17p16----|-16-------------|-------------|----------------------|--------2x
----17-------------19-|----19p17-16----|-16----------|----------------------|----------
-18-------------------|-------------18-|----18p16----|-16-------------------|----------
----------------------|----------------|----------19-|----19-18p16-18p16----|-16-------
----------------------|----------------|-------------|-------------------19-|----19--18
----------------------|----------------|-------------|----------------------|----------
 3  2  1  4  2  1  4    1  4  2  1  3    1  3  1  4    1  4  3  1  3  1  4    1  4   3

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This starts off in F, with a slide and some bends here and there.  It seems basically like a pentatonic lick, but without adhering to the Pentatonic box.  However, I didn't go through and check if it is or not, so if anyone cares to tell me the real scale for this, feel free to do so.  This column is about expanding everyone's knowledge, including my own.
|-----------------------------------16-------19b21~r19-19-19-19--16------------16----|
|--------------------------------------19-16-------------------------19b21~r19----19-|
|----------------------16-18b20~r18--------------------------------------------------|
|----------------16-18---------------------------------------------------------------|
|-------14-16/18---------------------------------------------------------------------|
|-14-16------------------------------------------------------------------------------|
  1  3  1  3     1  3  1  3         1  4  1  4         4  4  4   1   4         1  4  

e|-----------|
B|-16h19~p16-|
G|-----------|
D|-----------|
A|-----------|
E|-----------|
  1  4   1

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Main thing to look for in the next two bars is the ___ under the bends, because while pulling off and hammering on happens, the bend stays.  So while you pull off to the 16, it sounds a full step higher from the continued bend.  Not much fingering wise, and I will skip the fingering since the problem here isn't the fingering, but the bending.  [God, this sounds REALLY perverse.]  To get the 16 on the low E, since there is some manuevering space, just mute the B and hit the 16 on E with the index finger.
|------------------------------------------------------------|
|-16h19p16h19p16--h19b21---p16h19p16rh19b21r(19)--p16b18-h19-|
|--------------------________________----------------_______-|
|------------------------------------------------------------|
|------------------------------------------------------------|
|------------------------------------------------------------|

|------------------------------------------------------------0-0--|
|-(19)rp16b18rh(19)b21---p16h19r(19)p16h19--p16-------------------|
|-_____------------_____________----------------------------------|
|-----------------------------------------------------------------|
|-----------------------------------------------------------------|
|------------------------------------------------------16---------|

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I've sectioned this up as well.  This will need some great alternate picking skills, so I hope you've been paying attention and practicing.  These are also pretty common for the time as far as patterns go, but what makes them amazing is the fast speeds that Randy pulls them off at, as well as how "magical" they sound.
|-7-8-10-7-8----7------|-----------------|----------------------0-|
|------------10---8-10-|-7-8-5-7-5-------|------------------------|
|----------------------|-----------7-6-7-|-4h5---4----------------|
|----------------------|-----------------|-----7---7-5---4--------|
|----------------------|-----------------|-------------7----------|
|----------------------|-----------------|------------------------|
  1 2 4  1 2 4  1 2 4    1 2 1 3 1 3 2 3   1 2 4 1 4 2 4 1

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This next portion requires no fretting instructions.  Just pay attention to things like speed, precision, and getting everything in proper timing.  The beginning is just a succession of 3-2-0 pull offs almost like a sweep pattern.  There is a bit of a throw off with the last 3-2-0 pull off in the G string, which is a 3-2-0-2-0 pull off, hammer on lick with the second 2-0 adding a bit of an echo-esque effect.  A couple of open G strings, slide up to the 12th position.  The next part, the 10th position bends up to 12, is not all that difficult, but just make sure bends are in tune, as well as the releases.
|-3p2p0-------------------3p2p0----------------------------------------|-10b12r10--10-|
|-------3p2p0-------3p2p0-------3p2p0----------------------------------|--------------|
|-------------3p2p0-------------------3p2p0h2p0--0--0--0--/12h13h14p13-|--------------|
|----------------------------------------------------------------------|--------------|
|----------------------------------------------------------------------|--------------|
|----------------------------------------------------------------------|--------------|

e|-10b12r10-|
B|----------|
G|----------|
D|----------|
A|----------|
E|----------|

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This portion is moderately simple to comprehend once you understand what ol' Rhoads is doing.  It is a pinky-to-index/slide-down-1-fret pull off motif, which is a great use of chromatics (I will cover different ways to utilise chromatics properly).  The end of the bar is a three varible double pull off part.  They all resolve with the open G, but each one starts on a higher fret than the one before it.  These are slurred together with the use of hammer on's between the double pull off patterns.  The last bar I'm not entirely sure what is happening, but I think the bar is dumped before the x harmonic, not entirely sure at all.
|--------------------------------------------------|------------------------------|
|-10p7s6-9p6s5-8p5s4-7p4s3-6p3s2-5p2p0h6p3p0h7p4p0-|------------------------------|
|--------------------------------------------------|------------------------------|
|--------------------------------------------------|------------------------------|
|--------------------------------------------------|---------------------------x--|
|--------------------------------------------------|--6b7~~~r6b9~~r6-Tremolo------|

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This is the reiteration of some of the above ideas used later in the outro of the song, but with a different key.  It's not exactly the same, but from a quick inspection, the first bar is, and then he kinda goes off in a similar but different path with the next bars.
|-------11-14-12p11----11---------------------------------------------------------|
|----12-------------14----14p12-11----11------------------------------------------|
|-13-------------------------------13----13p11----11------------------------------|
|----------------------------------------------14----14-13p11-13p11----11---------|
|-------------------------------------------------------------------14----14--13--|
|---------------------------------------------------------------------------------| 2x

|-------------------------------------14-12-11------------------------(11)-|
|-------------------------11tr12---------------14-12-11--------------------|
|-------------------11-13---------13--------------------13-11-13b15--------|
|----------11-13-14--------------------------------------------------------|
|-11-13-14-----------------------------------------------------------------|
|--------------------------------------------------------------------------|

|--19b21r19p16----16-------------------------------|
|-----------------19----19b21~r19---19~~-----------|
|--------------------------------------------------|
|------------------------------------------------6-|
|--------------------------------------------7-7-6-|
|--------------------------------------------0-5-4-|

I'll be back soon, hopefully with another solo dissection, the last two picking based lessons, and the beginning of what you can do with chromatics (Hey, I hear those groans about chromatics, quit it!).

LordThurisaz

[LordThurisaz]

Picking Lesson 3
First, we talked about downstroke and strict alternate picking. Then, we approached downstroke and upstroke sweeps, and even covered sweep picking. Now we are going to talk about reverse alt picking (up down rather than down up).

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This is a simple example, but palm mute it to build up speed, and make sure you keep your up down up down picking precise and even.
e|----------------------------------------------|
B|----------------------------------------------|
G|----------------------------------------------|
D|----------------------------------------------|
A|----------------------------------------------|
E|-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--|
PK:^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u ^ u

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Here is the same basic example as before, but with some triplets added in.  The reverse triplets give a "backwards gallop" type sound.
e|---------------------------------|----------------------------------|
B|---------------------------------|----------------------------------|
G|---------------------------------|----------------------------------|
D|---------------------------------|----------------------------------|
A|---------------------------------|----------------------------------|
E|-0-0-0-0--000-000--0-0-0-0--000--|--0-0-0-0--000-000--0-0-0-0--000--|
PK:^ u ^ u  ^u^ ^u^  ^ u ^ u  ^u^     ^ u ^ u  ^u^ ^u^  ^ u ^ u  ^u^

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In Reign in Blood, there is the main harmony riff intro that everyone knows, and then it goes into a quick almost 'juggling' gallop effect.  This is basically just an open E, palm muted, and played in reverse alt picking.
e|------------------------x3||-------------------------x4|
B|--------------------------||---------------------------|
G|o------------------------o||o-------------------------o|
D|o------------------------o||o-------------3--2--------o|
A|--------------------------||-----------4--------3--2---|
E|--00-0--00-0--00-0--00-0--||--0--2--4------------------|
PM  .. .  .. .  .. .  .. .      .  .  .
    ^u ^  ^u ^  ^u ^  ^u ^      u  u  u  u  u  u  u  u

The main point of this is to get you used to all different types of picking patterns, and while this may not be something to throw in everything, it does sound good used properly, and can make passages sound almost in reverse. Also adds a nice texture to leads -- I'll let you explore with this on your own.

Next, chicken picking.
This technique is used very geniously by many hybrid pickers, John5, and especially country guitarists. But, we are going to focus on one Vinnie Vincent. Basically, all you need to know is that the middle finger comes up and plucks the string like it is a pick. However, it yields a slightly different tone.

The benefits from this technique is to help certain notes pop, to help you play notes faster (on same string or additional strings), or to string skip with less picking hand movement. I will focus on string skipping examples, but you can do whatever with this as you see fit.

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Watch picking indicator, and I guess if you want, the fretting suggestion that I've included to make things extra easy. M=middle finger.  The (+2) is to signify 'reinforced bending', which has you using your middle finger for extra strength for the vibrato.
e|-------------------------------------------------------7p5p0------|
B|-------5p0h4p0-------------------------5h7p5-----------------7ph~-|
G|---------------------6-4------------------------------------------|
D|-4h5h7---------7-5-4-----7-5-4-7/9-7-5-------9p7p5h7h9------------|
A|------------------------------------------------------------------|
E|------------------------------------------------------------------|
PK:u     M       ^ u ^ u ^ u ^ u ^   u ^ M     u         M     u
   1 2 4 2   1   4 2 1 3 1 4 2 1 4   2 1 1 2 1 4 2 1 2 4 2 1   3(+2)

Just imagine if you were to get proficient enough to use this for all string to string movements (like D-G for instance). If you were to do that, you could get the above to really blaze.

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Here is another simple idea that could be used in a solo if you wished.
e|----15b--------15b----------15bp12~-h15r--------|
B|------------------------------__________--13----|
G|-12------12-12-----12-14-12------------------12-|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
PK:u  M    ^  u  M   u  ^  u  M             ^-----|

This technique could be used in all types of situations, just be creative. Next, we are going to go over a small section for tapping.

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My personal preference to tapping is to tap the high note as I am just taking my fret hand off the string.  You want to flick down when you pull the tap off to keep it ringing, but dont do it enough to bend it out of tune, unless the bend is intentional.  Instead of taking the fret hand off the string, you could pull off the pinky finger with a slight flick like on the tap, but you'll want to make sure you can do this cleanly, and not do tons of extra notes unless it's intentional.  TH=Tap Harmonic.  You want to tap the string above the fret (if you don't know what I am talking about, Youtube Michael Angelo Batio's Prog video.  There is a part where he tap harmonics all over the place.)

e|-T12-7h10T12-7h10T13-7h10p7t12-7h10p7t13-7h10p7t15-7h10p7th19~--|
B|----|--x3---|---x3--|---x4----|---5x----|---6x----|-------------|
G|----------------------------------------------------------------|
D|----------------------------------------------------------------|
A|----------------------------------------------------------------|
E|----------------------------------------------------------------|

Next, I will do a "Picking Lesson Final", and a section on "violin-style shredding" (four notes per string), as well as some other cool things that I have taken from "Licks That Kill" which was a section in Guitar World, as well as some other things that I would consider "licks that kill".

Picking Lesson FINAL!
Okay, if students could please get out their #1 electric guitar, and please take their seats so we may begin, it would be appreciated.

Enough with the joking. This is going to have little explanation. This will include a grouping of aspects from all of the previous lessons.

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e|----15b--------15b----------15b----------------------------13h17p13----------| 
B|--------------------------------13p0-------0h13h16p13p0-15----------15----15-| 
G|-12------12-12-----12-14-12----------14b16-----------------------------14----| 
D|-----------------------------------------------------------------------------| 
A|-----------------------------------------------------------------------------|
E|-----------------------------------------------------------------------------|

e|-13\12h15p12----------|
B|-------------13----13-|
G|----------------12----|
D|----------------------|
A|----------------------|
E|----------------------|

e|12/15h19p15-----17h20p17-------------17h20p17-------------17h20p17-T22p17-T22p20-|| 
B|------------17~----------18-------19----------19-------18---------|----x3--------|| 
G|----------------------------17h20----------------20p17---------------------------|| 
D|---------------------------------------------------------------------------------|| 
A|---------------------------------------------------------------------------------|| 
E|---------------------------------------------------------------------------------|| 

e|-T22p17h20p17\15h19p15/17-|| 
B||--------x5---------------|| 
G|--------------------------|| 
D|--------------------------|| 
A|--------------------------|| 
E|--------------------------||

Good luck, and with that high A note on the end, bend up a full step to B and vibrato. Ta-da. End of lesson one; hopefully you all passed. Next course should begin within the next week. Thanks for joining us.

LordThurisaz

Licks that Burn

Violin-style 4 notes per string scales
These scales are used quite often in shred and violin-based classical work. They are basically the same as a 3 note per string scale, except you have the 4th on the same string to begin with, and to get there you slide up to it. Here is an ascending pattern for B Phrygian.

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e|-----------------------------------------------------------17-19-20/22-|
B|-----------------------------------------------15-17-19/20-------------|
G|-----------------------------------12-14-16/17-------------------------|
D|-----------------------10-12-14/16-------------------------------------|
A|------------9-10-12/14-------------------------------------------------|
E|--7-8-10/12------------------------------------------------------------|

For descending, you would just do this:

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e|22-20-19\17--...
B|-------------...
G|-------------...
D|-------------...
A|-------------...
E|-------------...

The idea here is to cover an octave over just two strings. This will result in 3 octaves total once you are done, if you decide to use all 3 octaves that is, and you will cover a very big portion of the fretboard. This would make it quite easy to ascend in a 4-NPS pattern, and then descend in a 3-NPS box somewhere along the way. The advantage of this is to juxtapose the ascending B Phrygian with say a descending C Lydian.

Jump-roping
Another technique to burn across a far is what I will call "jump-roping" for a lack of a better fancy, catchy nickname.

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e|---------1-3-5/7---------5-7-8/10-----------8-10-12/13-------------12-13-15/17-|
B|-0-1-3/5---------3-5-6/8----------6-8-10/12------------10-12-13/15-------------|
G|-------------------------------------------------------------------------------|
D|-------------------------------------------------------------------------------|
A|-------------------------------------------------------------------------------|
E|-------------------------------------------------------------------------------|

As you can see, this technique will also help you burn a big portion of the fretboard. This should be used for a progression in a solo, but not the basis of the entire solo. This is true for any technique, as overusing it can become stale.

Palm muting
While usually you should be using palm muting to mute strings you aren't playing to keep from accidently sounding of these strings, you can also palm mute the string you are using to add an extra dimension to the solo.

For the "r7p5" section, you want to get the release and the pull off to sound like you are pulling off. This will make the lick sound smoother obviously, and will also keep you in sync with the rhythm. The palm mutes could have a very slight ritard on them so as to make the lick sound almost "intoxicated". Of course, you could have this follow along rhythmically with the rest of the lick for a smoother sound, but I find the "intoxicated" slurring effect a little more interesting. Alternate picking is probably the best suggestion for this lick. I included the 3's over the first nine notes to indicate triplets as a way to give a bit of information on the duration of the notes. Not much, but at least it's better than nothing.

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e|---------------------------------------------------------------------------|
B|---------------3-----------------------------------------------------------|
G|---------3---_____-5h7p5-7b^rp5---------5tr7-5----5-----5------------------|
D|---3---_____-5-7-9--------------9-5-7-9--------7b---(9)---(9)-r7p5---------|
A|-_____-5-7-8-------------------------------------------------------8-7-5---|
E|-5-7-8-------------------------------------------------------------------8-|
PM . . . . . . . . .              . . . .                            . . . .

e|---------------------5~---5-------------------|
B|---------------5h8p5----5---5-8p5-------------|
G|-----------7b---------------------7b--~----\--|
D|-5-7-5-8-5------------------------------------|
A|----------------------------------------------|
E|----------------------------------------------|

To show you all how a professional does it, here are 7 bars from his guitar solo from "Suicide Solution" from the Tribute live album. The bulk of the piece is grouped in groups of 6, and is sextuplets instead of triplets. Most measures will be grouped in groups of six, however the 7 with the long space in bar 2 will take twice the space of the regular notes.

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e|-------------------------------------------------------|
B|-------------------------------------------------------|
G|-------------------------------------------5-6-8-------|
D|-------------1h2h4-3-4-6-------------3h4h6-------6h7h9-|
A|-------1-2-4-------------------3-4-6-------------------|
E|-1h2h4-------------------3h4h6-------------------------|
PM entire measure

e|----------------------10p7h8p7----7-------------------|
B|-----------10p7-8-7------------10---10p7h8p7----------|
G|-------6h7-----------------------------------9\7p5p4h-|
D|-6h7h9------------------------------------------------|
A|------------------------------------------------------|
E|------------------------------------------------------|
PM .....

e|----------------------------------------------------|
B|----------------------------------------------------|
G|-5p4---4--------------------------------------------|
D|-----7---7p5-4h5p4---4--------------------4~--------|
A|-------------------7---7-5-\2h3p2---2/3-------------|
E|----------------------------------5-----5-----------|

e|----------------------------------------------------|
B|----------------------------------------------------|
G|-------------------------5~-------------------------|
D|-~--------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|

e|----------------------------------------------------|
B|-7~-------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|

e|----------------------------------------------------|
B|-10p7---7-------------------------------------------|
G|------8---8-5-8-5---5-------------------------------|
D|------------------7---7-4-7p4---4-------------------|
A|------------------------------6---6-3-6p3---3-------|
E|------------------------------------------5---5-3\--|
PM        . . . . . . . . . . . . . . .

e|----------------------------------------------------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|-----------------------Fdbk.------------------------|
E|\2~---------------------(2)~------------------------|

Well, that is it for today, I hope you all enjoyed and learned something. The point for showing you the 4NPS scale variations, 'jump-roping', and palm mutes during solos is to introduce you to textures and ideas you may not have thought of before. They first two are great for covering large distances on the neck, and the last one is great for putting emphasis on different things. Has a nice "build up and release" feel to it as well. Also, the palm muting licks sound great with some experimentation with a wah (I suggest trying it sometime and seeing what you come up with).

Thanks for you attention and effort,
LordThurisaz

Here's the chromatics lesson I promised everybody.

CHROMATICS

This lesson will be on chromatics, and some different ways to utilise chromatics effectively. They can be used as neighbor tones in a scale to give it a 'new' color or 'flavor' if you will. Another method will be to use the chromatic scale to solo and build chops. Lastly, I will go over how to use chromatics to build tension in a rhythm riff, and then how to release it (essentially, this could also be applied to leads as well). So, I hope you all had a great winter vacation, but it's time to get back to the woodshed and get to shreddin'.

Neighbor Tones
Neighbor tones are notes which are literally 'neighbors' with other notes in the scale (sometimes referred to as passing tones). The below example is where Vinnie gets abunch of his frantic fret wizardry.

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e|-16-15-14-12----------------------------------------------------------------|
B|-------------16-15-14-12----------------------------------------------------|
G|-------------------------15-14-13-12-11-------------------------------------|
D|----------------------------------------14-13-12-11-------------------------|
A|----------------------------------------------------14-13-12-11-------------|
E|----------------------------------------------------------------15-14-12-11-|

You can basically see that Vinnie took a standard E pentatonic and spiced it up. In it's skeletal form, it has the notes below, which make up the minor pentatonic scale in E.

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e|-12-15-|
B|-12-15-|
G|-12-14-|
D|-12-14-|
A|-12-14-|
E|-12-15-|

As you can see, for shred, the version with all the chromatic tones yields a lot more than the standard penta box can. It also prepares you a bit for position shifting. Here is a riff from Vinnie's Metal Tech video to help you out with applying theory to practice.

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e|---------12-------16p15p12-16-16-16-16p12---------------------|
B|-15b(17)----15-12-------------------------15-12---------------|
G|------------------------------------------------14-14-12b(13)-|
D|--------------------------------------------------------------|
A|--------------------------------------------------------------|
E|--------------------------------------------------------------|

Here is a riff I wrote in E Phrygian, with some neighbor tones.(* You'll want to pull off with each finger 15p14p13p12, but in the duration of a normal sweep pull off).

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e|-15-14-13-12-------------------------------------12-15p12-------13-|
B|-------------15b17r15-12tr14----12---12b13----13----*-----13/15----|
G|-----------------------------14----14------14----------------------|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

e|-17p13-------17-21p20p19p17----------------------------------------|
B|-------15/19----------------19h20p19p17----------------------------|
G|----------------------------------------20...17--------------------|
D|------------------------------------------------20...17------------|
A|--------------------------------------------------------20b22r20~--|
E|-------------------------------------------------------------------|

Chromatic solos and chop building

You can do chromatic solos one of two ways. You can follow the scale, and go through all 12 notes like example 1 below, or you can choose a box of four notes and play those, as in example 2.

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Ex. 1           Ex. 2
e|-12-13-14-15-|-12-13-14-15-|
B|-13-14-15-16-|-12-13-14-15-|
G|-13-14-15-16-|-12-13-14-15-|
D|-14-15-16-17-|-12-13-14-15-|
A|-15-16-17-18-|-12-13-14-15-|
E|-16-17-18-19-|-12-13-14-15-|

I highly suggest warming up with Ex. 2 first using legato style to warm up the left hand, and then to pick every note, to warm up the right hand. Another great reason to practice ex. 2 is to put yourself in a rhythm and since there aren't any position shifts, it becomes that much easier to accomplish. The key to using a chromatic scale like ex. 1 in context to a solo would be to use it creatively to connect, say, an E root scale to a B root scale, which would be the D-E strings in Ex. 1. Chromatics are used when you wish to build tension, or to make a piece emulate the swoosh of the wind, a bumble bee, or many other zany things people have used chromatics for.

Chromatic Tension

Chromatic tension in a rhythm riff, especially a heavy riff, is quite menacing. If you play a riff like ex. 3 below, you'll discover that ex. 4 has much more depth because of the chromatic tension involved.

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Ex. 3
e|---------------------------------------------------|
B|---------------------------------------------------|
G|-------------------7-8-----------------------5-----|
D|-3---------7/9-----5-6-9---------9-----9\7---5-----|
A|-3---------5/7---------7---------7-7-7-7\5---3-----|
E|-1-0-0-0-0-----0-0-------0-0-0-0-------0---0---0-0-|
PM   . . . .     . .       . . . .   . .     .

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Ex. 4                                        1.       2.       3.
e|------------------------------------------|--------|--------|--------|
B|------------------------------------------|--------|--------|--------|
G|-------------------7-8--------------------|--3-----|--4-----|--5-----|
D|-3---------7/9-----5-6-9---------9-----9\7|--3-----|--4-----|--5-----|
A|-3---------5/7---------7---------7-7-7-7\5|--1-----|--2-----|--3-----|
E|-1-0-0-0-0-----0-0-------0-0-0-0-------0--|0---0-0-|0---0-0-|0---0-0-|
PM   . . . .     . .       . . . .   . .     .   . .  .   . .  .   . .

You could also use a D, C# and C power chords in a descending pattern for the endings rather than the A# B C ascending pattern used above. Going back and forth could sound cool, but don't do that too much as it could come off a little bit like a slow spinning effect like spinning around and around in the middle of the room, which isn't good.

The reason for the tension and release is because you don't go to the power chord that is a fifth above the first chord/note in the riff. I will expand on this portion a little further, but I just wanted to introduce you to the concept a little at this point. Next lesson I plan to do will be on picking mechanics (and yes I know we just got done with picking), but this should help you for crossing strings, and to pinpoint what you should practice picking wise, and what you need to practice to get better at.

Until next time,
LordThurisaz.

Modes/theory
This involves taking a scale, in this instance, C Ionian (aka Major). First, this scale includes all of a piano's white keys: C D E F G A B C

Here is a little formula for you modal shredders to remember your scales, and the steps involved in the given mode. W=whole step, which is the equivalent of two frets. H=half step, equivalent of one fret.

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Ionian      WWHWWWH
Dorian       WHWWWHW
Phrygian      HWWWHWW
Lydian         WWWHWWH
Mixolydian      WWHWWHW
Aeolian          WHWWHWW
Locrian           HWWHWWW

My personal tip is to learn scales based on their whole step, half step scale patterns rather than learning it in each key, or each box. This way, it enables you to mode anywhere on the fretboard in all keys, rather than being stuck to clunky boxes which work for no one. We aren't mimes are we? Well then get outta the box!

Which leads to my next lesson...


Position Shifting
This is based on moving your left hand from the 4th position (or fret), to the 12th position. This is how guitarists like Eddie Van Halen and Vinnie Vincent shred up the entire fretboard, rather than a few beaten-to-the-ground positions that all the books show you.

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This is an arpeggio based on position shifting, with a bit of string skipping, and hammer ons for good measure.
e|-17-------------------------19p14----|
B|----18----------------------------16-|
G|-------17-------14-------16----------|
D|-------------14----13h16-------------|
A|----------16-------------------------|
E|-------------------------------------|

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Here is how to incorporate it into an arpeggio.  It also has a slight "run" in the middle.  This is good for the economy picking.
e|---------------12-10-9----14p10-------------|
B|---------10h12---------10-------12----------|
G|-------9---------------------------11-------|
D|----11--------------------------------13-9~-|
A|-12-----------------------------------------|
E|--------------------------------------------|

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Here is a good example on rolling and it has position shifts.  Also could be used for Economy picking.
e|----------------------------------------------------|
B|----------------------------------------------------|
G|----------------------------------------------------|
D|-----------------12-11-9----11-9\7----9-7\6---------|
A|---------9-11-12---------12--------11-------9~--7~--|
E|-9-11-12--------------------------------------------|

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This run is mainly based on barring a few strings, and rolling, but can also be used to shift position, and economy picking as well.  The row of (5)'s and (3)'s are just to indicate how you should barre the index finger.  As a tip, to facilitate the index move from the 4th fret on G, to the 3rd fret across strings E-D, barre while doing the 7-5 on the D string.
e|-(5)-8-7-5-----------------------------------------------|
B|-(5)-------8-6-5-----------------------------------------|
G|-(5)-------------7-5\4-----------------------------------|
D|-----------------------(3)-7-5-3-------------------------|
A|-----------------------(3)-------7-5-3-------------------|
E|-----------------------(3)-------------7-5-3\1-0h1p0h1p0-|

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This is another arpeggio style lick using slurs to facilitate the shifts.
e|----------------------------------------|
B|----------------------------10----------|
G|------5\2-----------------9----9--------|
D|----7-----2------------11--------11p9\7-|
A|-/7---------4---3/7-12------------------|
E|--------------5-------------------------|

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Some nice position shifts and a little barring.
e|-14-11-9-------------------------------
B|---------11-9-7---7-9b11--r9-7---------
G|----------------8--------------8-6-----
D|-----------------------------------6\4-
A|---------------------------------------
E|---------------------------------------

SO, after all that, hopefully you can start to move outside the box. I know there are only little tiny descriptions for each one, but it should be pretty explanitory.

Test:

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e|-12-7-7-9-7-7-12-7-7-9-7-7-|-9-7---------7-----------------
B|---------------------------|-----10-9-10---10-9-7----------
G|---------------------------|----------------------9-8------
D|---------------------------|--------------------------11-9-
A|---------------------------|-------------------------------
E|---------------------------|-------------------------------

e|-------------------------------15-------
B|----------------------15----------15----
G|-------------14----------14-12-------14-
D|----14----------14-12-------------------
A|-------14-12----------------------------
E|-12-------------------------------------

e|-------------------------------------------------------
B|-----------------------------------10/12t19p12\10------
G|-------9h12p9----/14-12-11\9-11-12----------------12-9-
D|----11--------11---------------------------------------
A|-12----------------------------------------------------
E|-------------------------------------------------------

Enjoy the latest installment, everyone.

Cheers,
LordThurisaz.

[Trigger]

Thanks LT

[LordThurisaz]

Thanks LT

No problem, boss.

My senses are leaning towards four lessons, sorta. Here's what I mean

1. I'm gonna take the two pages on picking mechanics from Troy Stetina's book Speed Mechanics (don't tell on me), and expand on it. More examples, etc.

2. A jazz/fusion lesson for metal shredding a la Chris Poland (which means I need to dig up my Jazz Improv books and my Megadeth tabs).

3. A tapping lesson. I figured I would go over this a bit, like the pros and cons of finger tapping versus pick tapping, as well as other ideas for tapping.

4. A more in depth theory section. Harmonic Minor, Diminished, whole-tone, melodic minor, etc. I'll have to do some brushing up on my rhythm to lead theory relations, and also introduce how to make a single line sound a multitude of ways just by using different chords.

So, this should take about a month. Just kidding.... (Or am I? )