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Introduction 3

Speed Building 4 Using a Metronome

How to Practice

Scale Sequences

Pentatonic Sequences Children of the Grave Black Sabbath

Legato Speed Building

Legato Sequences I Would Love To Steve Vai Ill See the Light Tonight Yngwie Malmsteen

Legato 11 Exercises

Three-Notes-Per-String-Scales

Hammer-on from Nowhere

Single-String Legato Lines Zap Eric Johnson Tender Surrender Steve Val Rising Force Yngwie Malmsteen Spanish Fly Van Halen Aces High Iron Maiden Road Games Allan Holdsworth

Two-Handed Tapping 19 Tapping Triads

Eruption Van Halen

Scalar Fragments

Ascending Tapping Licks and Patterns

Tapped Bends

Tapped Slides Hot for Teacher Van Halen Seventeen Winger Get the Funk Out Extreme Wait White Lion

Sweep Picking 27 Proper Pick-Hand Technique

Fret-Hand Technique

Three-String Arpeggio Shapes

Legato + Sweep Economy Black Star Yngwie Malmsteen Far Beyond the Sun Joe Satriani Blue Powder Steve Vai Hangar 18 Megadeth Caprice No 24 Niccolo Paganini

Enr sirlCl Eddie Van Halcn and Yngvvie 1alnlsteen turned the guitarshypbying world upside-don in thc late 70s and e(lrly flOs guitarists

eerywlllrL haH spent countless hours in the woodshed working their fingers to the bmw and earing down frets in an effort to cop the fiery virshytuosic licks of Joe 5atriani 5tec Vai Marty Friedn1an and Paul Cilbert as cll elS Van Hekn and Malmstcel1

It these kinds of monster chops h1e thus far eluded you or if youc only Jlcenth discmcrcd the world of terrifying technique then DVD Guitar

from Hal Leonards cxciti new At a ClanCt series is your remedy Nut as scholarh or forma) as traditiclilal method books the material in DVD Gliitar Shred is presented in c1 snappy and fun manner intended to hae YOU svlep picking t(pping and otherwise shreddin every which V but loose in irtually no time elt II Plus the At c1 Chmce series uses real songs by real Mtists to illustrate how the concepts YOUH learning are clpplied in some of the biggest hits of III time For txampk in DVD Cllitilr Smd ynullltellTl licks from over 20 rock ~hred (1J)d instrumental cbssics including Van Hellens Eruption White Lions Wait v1egadtths HangtlrlS and Yngwie Malmstcens Black Star

dditionlly e(Kh book in the At cl ClalKt series comes with a DVD conshylclining ideo lessons that correspnnd to the printed matlrill The DVD that accompanies this book contains four ideo lessons each c1pproximateshyIv fI to to minutes in length thilt correspond to each chapter in DVD Cuitar Sflred In these ideos acclaimed shred instructor Troy 5tetincl vill

shOv vou in t detail etrytling from proper swtep picking technique to naigating long legato sequences without txtraneous string noise

As vou nrk through DVD GlIitor try to play the examples first on vour OVll emd tlwn check out the DVD for additional tips or to ste how a pc1rticulelr lick is extcuted As the saying goes A picture is worth il thoushysand words so be sure to use this imaluablt tool on your quest to becoming the consummatt shrtd guitarist

3

GlIittlriSb ~lIch tIS Yngwic IVtllrnsteen Paul Cilbert and Steve Vai Me 11 well known for their frttshybon1 pwwess md tlllir music likely has much to do with V()U purchlsing llld lIsing this book But

skillful use of speed is not limited to the sll-called shred gCgtllre Indeed morc mainstream songs likt vhitesnlkvs Here I Co Again Tntos Rosannel Dire Straits Sult1llS uf Swing (lnd Vln Iourneys Fe1ithfully 111 feature l11agically melodic solos cclppvd or injected vvith specmiddotely lines thlt build to musical climx Further they e(lch svne as In example of why een if specd is not relly your fllCUS 1lt 1 pldver its 1 spine-tingling skill worth adding to your tlrstnal

In this kSltOIl lre going to sh(l you some bISIC s~wtd-building exercises for both picking tllld kglto slljUlncls in rock 1td-guitM shitS to help YOU build ll11lnster chop~ regMdlclts of uur musicdl style Its illlportmt though that Oll reali7e mel understand thtlt speed alone is just speed The exercises presented in this chapter will also improve the ((IlL OLl produce with our hands IS cll IS your lbilishyt III klCp Ilm~j( md thus sl1 in the gromc

Using aMetronome her notin how the lines of some technically giftcmiddotd guit lih~ John Pdrucci Al Di Meola or [lul Cilblrl l1l so prlcisl and in the gwme Thlts btCIUSl theyre all pro~onlnts of practicing with tl

mdronomc~~tl1l lssentiaj tool fl)r keeping tempo stcldv while Y(lll deelop lCcllrclcy 1l1d gradually ()Ik up our speed If VOl try to pI) fast before you can ply sloly accurateiv and with solid time l)L111 just sloppy results

If oue 11rellh got 0Ill mel know how to use it skip 1hcad to the first excrcisc set a tempo at which vou cm plc1 it pcrfectlV mel go If you dont On a nwtronome stop reDding gd to tl music store Ind

bu one If yOU own one but Ment fcll11iliar with how it wurks rCllct on

r-irst Stt your mdronome to a tempo at which you Gill plav 1 scale up and dOvn using altt1T1lte picking mel an eighth-l()tt rhvthm (tvo notes per mdronome click) without making IIYV mistakes Playing straight sGlles isnt the most musical endeavor but it will help you memorize the scales shpl and sound while building vour alternate picking techshy

niqul and timing If voure not sun what tempo to stmt with trv 72 bpm

OK Ids tn it with an i minor scale in fifth position

How to Practice Beforc you begin the exercises e want to spend some time talking bout pmcticc As we mentioned YllU should be using alternlt1te picking for all of the exercises and sequences in this lesson Besides playing to a metronome you should tap your foot in time vitl it This

T c c Q -5 -7-1 8-1

8-6-5 T y y y

7-5~~7-5

c 0

y

8-7-5J 8-7-~v u

n ~ - 11 11 - n i n I 11 ~ ~ 11 n I 11

will help you internalize the groOl mel flei for plying in solid time

Once VOUl achilcd basic ftlrniliarity with whicheer or excrcise youre working 011 -rite down the ttmpo at which you could play it clcanly with the metronome Start off slody Lery dy and inch tl1l mdronome LIp to the higlwst point you had il the d before if possible On some days it will lll slowl than before This is normal

4

dn till ll1d of Pur practice ession trv bumping it up one notch higher just to see vhlre the clilshy

il 1- I )(illt IlPltlttdh ltlttcmpt to at 1 kmpo hcvond your re1(h as this ill onl tcach YOLI bad

hlhih like pLling ith tno much hmsion in our hmd lrI11S or body St1 relaxed md tltlke your

(Inll building lip your s~lld

Ok Itt~ through lnotlwr cliL this tinl A mljor to help vou Wlrl11 up ReITHmL1lr start slowh

1lel Clll1ll1l trd te on tillt Ii llger Pl ttern 1 nd you r pic k t1 ttlCk rltl1(r thln spcld

-9-1 7-9-10 -~ -7 10-9-7 I

J middot7II shy 6-7-H ~

middot9middot

-11 5-7 J -7 middot5I n c

-V

In plllIlg bllth the A minor mel A mljor sclle patterns in othtr keys too 111ming thelll up and

dll1 tilt ned so thlt YOU become accllstol11ld to how VOllr fingers feel vvith the different fret widths

Scale Sequences I 11ing edlt melkls tor a grtlt warm-up (lnc it certlinly llllps build your technique but like we lid it l1l)t lilt most musiG1II applicable exercise Mound To bethr build speed and technique vvith

nll-li nHISicll phrases we use melodic fragments called to navigate the scale

i ill tljUlllClS 1n quite lIseful for building speed (md coordination

flw ti r- t lercise is bu iIt using tl tou r-notl sequcnce from the minor scale resu Iting in note groupshy

ing ()f -B-C B-C-D-L and su on until we reach the highest note of thl sGlle patshy

krn-tlw high C It the lighth frlt on the first string Then vou reprse the sequence and descend the

llll

T middot5 ~ middot5-6shyT -I - -7

5-7~5-7-8-5-~ 0 middot5 ~ 0 middot5 -7 0 -5 [ middot7

- n ~

-[

U -8 ~ u

7 U U U i-5 middot8middot ~ U -8 -8 -5 middot7 6--8-7 middot5 8 -7shy c

U u middot5 8-1 r

UUU~U U u -7 c u 7 C

7-5-4 7

7 5--7 middot5 -5[ U [ U U U [ U 0 7 c

U u A

u

5

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Introduction 3

Speed Building 4 Using a Metronome

How to Practice

Scale Sequences

Pentatonic Sequences Children of the Grave Black Sabbath

Legato Speed Building

Legato Sequences I Would Love To Steve Vai Ill See the Light Tonight Yngwie Malmsteen

Legato 11 Exercises

Three-Notes-Per-String-Scales

Hammer-on from Nowhere

Single-String Legato Lines Zap Eric Johnson Tender Surrender Steve Val Rising Force Yngwie Malmsteen Spanish Fly Van Halen Aces High Iron Maiden Road Games Allan Holdsworth

Two-Handed Tapping 19 Tapping Triads

Eruption Van Halen

Scalar Fragments

Ascending Tapping Licks and Patterns

Tapped Bends

Tapped Slides Hot for Teacher Van Halen Seventeen Winger Get the Funk Out Extreme Wait White Lion

Sweep Picking 27 Proper Pick-Hand Technique

Fret-Hand Technique

Three-String Arpeggio Shapes

Legato + Sweep Economy Black Star Yngwie Malmsteen Far Beyond the Sun Joe Satriani Blue Powder Steve Vai Hangar 18 Megadeth Caprice No 24 Niccolo Paganini

Enr sirlCl Eddie Van Halcn and Yngvvie 1alnlsteen turned the guitarshypbying world upside-don in thc late 70s and e(lrly flOs guitarists

eerywlllrL haH spent countless hours in the woodshed working their fingers to the bmw and earing down frets in an effort to cop the fiery virshytuosic licks of Joe 5atriani 5tec Vai Marty Friedn1an and Paul Cilbert as cll elS Van Hekn and Malmstcel1

It these kinds of monster chops h1e thus far eluded you or if youc only Jlcenth discmcrcd the world of terrifying technique then DVD Guitar

from Hal Leonards cxciti new At a ClanCt series is your remedy Nut as scholarh or forma) as traditiclilal method books the material in DVD Gliitar Shred is presented in c1 snappy and fun manner intended to hae YOU svlep picking t(pping and otherwise shreddin every which V but loose in irtually no time elt II Plus the At c1 Chmce series uses real songs by real Mtists to illustrate how the concepts YOUH learning are clpplied in some of the biggest hits of III time For txampk in DVD Cllitilr Smd ynullltellTl licks from over 20 rock ~hred (1J)d instrumental cbssics including Van Hellens Eruption White Lions Wait v1egadtths HangtlrlS and Yngwie Malmstcens Black Star

dditionlly e(Kh book in the At cl ClalKt series comes with a DVD conshylclining ideo lessons that correspnnd to the printed matlrill The DVD that accompanies this book contains four ideo lessons each c1pproximateshyIv fI to to minutes in length thilt correspond to each chapter in DVD Cuitar Sflred In these ideos acclaimed shred instructor Troy 5tetincl vill

shOv vou in t detail etrytling from proper swtep picking technique to naigating long legato sequences without txtraneous string noise

As vou nrk through DVD GlIitor try to play the examples first on vour OVll emd tlwn check out the DVD for additional tips or to ste how a pc1rticulelr lick is extcuted As the saying goes A picture is worth il thoushysand words so be sure to use this imaluablt tool on your quest to becoming the consummatt shrtd guitarist

3

GlIittlriSb ~lIch tIS Yngwic IVtllrnsteen Paul Cilbert and Steve Vai Me 11 well known for their frttshybon1 pwwess md tlllir music likely has much to do with V()U purchlsing llld lIsing this book But

skillful use of speed is not limited to the sll-called shred gCgtllre Indeed morc mainstream songs likt vhitesnlkvs Here I Co Again Tntos Rosannel Dire Straits Sult1llS uf Swing (lnd Vln Iourneys Fe1ithfully 111 feature l11agically melodic solos cclppvd or injected vvith specmiddotely lines thlt build to musical climx Further they e(lch svne as In example of why een if specd is not relly your fllCUS 1lt 1 pldver its 1 spine-tingling skill worth adding to your tlrstnal

In this kSltOIl lre going to sh(l you some bISIC s~wtd-building exercises for both picking tllld kglto slljUlncls in rock 1td-guitM shitS to help YOU build ll11lnster chop~ regMdlclts of uur musicdl style Its illlportmt though that Oll reali7e mel understand thtlt speed alone is just speed The exercises presented in this chapter will also improve the ((IlL OLl produce with our hands IS cll IS your lbilishyt III klCp Ilm~j( md thus sl1 in the gromc

Using aMetronome her notin how the lines of some technically giftcmiddotd guit lih~ John Pdrucci Al Di Meola or [lul Cilblrl l1l so prlcisl and in the gwme Thlts btCIUSl theyre all pro~onlnts of practicing with tl

mdronomc~~tl1l lssentiaj tool fl)r keeping tempo stcldv while Y(lll deelop lCcllrclcy 1l1d gradually ()Ik up our speed If VOl try to pI) fast before you can ply sloly accurateiv and with solid time l)L111 just sloppy results

If oue 11rellh got 0Ill mel know how to use it skip 1hcad to the first excrcisc set a tempo at which vou cm plc1 it pcrfectlV mel go If you dont On a nwtronome stop reDding gd to tl music store Ind

bu one If yOU own one but Ment fcll11iliar with how it wurks rCllct on

r-irst Stt your mdronome to a tempo at which you Gill plav 1 scale up and dOvn using altt1T1lte picking mel an eighth-l()tt rhvthm (tvo notes per mdronome click) without making IIYV mistakes Playing straight sGlles isnt the most musical endeavor but it will help you memorize the scales shpl and sound while building vour alternate picking techshy

niqul and timing If voure not sun what tempo to stmt with trv 72 bpm

OK Ids tn it with an i minor scale in fifth position

How to Practice Beforc you begin the exercises e want to spend some time talking bout pmcticc As we mentioned YllU should be using alternlt1te picking for all of the exercises and sequences in this lesson Besides playing to a metronome you should tap your foot in time vitl it This

T c c Q -5 -7-1 8-1

8-6-5 T y y y

7-5~~7-5

c 0

y

8-7-5J 8-7-~v u

n ~ - 11 11 - n i n I 11 ~ ~ 11 n I 11

will help you internalize the groOl mel flei for plying in solid time

Once VOUl achilcd basic ftlrniliarity with whicheer or excrcise youre working 011 -rite down the ttmpo at which you could play it clcanly with the metronome Start off slody Lery dy and inch tl1l mdronome LIp to the higlwst point you had il the d before if possible On some days it will lll slowl than before This is normal

4

dn till ll1d of Pur practice ession trv bumping it up one notch higher just to see vhlre the clilshy

il 1- I )(illt IlPltlttdh ltlttcmpt to at 1 kmpo hcvond your re1(h as this ill onl tcach YOLI bad

hlhih like pLling ith tno much hmsion in our hmd lrI11S or body St1 relaxed md tltlke your

(Inll building lip your s~lld

Ok Itt~ through lnotlwr cliL this tinl A mljor to help vou Wlrl11 up ReITHmL1lr start slowh

1lel Clll1ll1l trd te on tillt Ii llger Pl ttern 1 nd you r pic k t1 ttlCk rltl1(r thln spcld

-9-1 7-9-10 -~ -7 10-9-7 I

J middot7II shy 6-7-H ~

middot9middot

-11 5-7 J -7 middot5I n c

-V

In plllIlg bllth the A minor mel A mljor sclle patterns in othtr keys too 111ming thelll up and

dll1 tilt ned so thlt YOU become accllstol11ld to how VOllr fingers feel vvith the different fret widths

Scale Sequences I 11ing edlt melkls tor a grtlt warm-up (lnc it certlinly llllps build your technique but like we lid it l1l)t lilt most musiG1II applicable exercise Mound To bethr build speed and technique vvith

nll-li nHISicll phrases we use melodic fragments called to navigate the scale

i ill tljUlllClS 1n quite lIseful for building speed (md coordination

flw ti r- t lercise is bu iIt using tl tou r-notl sequcnce from the minor scale resu Iting in note groupshy

ing ()f -B-C B-C-D-L and su on until we reach the highest note of thl sGlle patshy

krn-tlw high C It the lighth frlt on the first string Then vou reprse the sequence and descend the

llll

T middot5 ~ middot5-6shyT -I - -7

5-7~5-7-8-5-~ 0 middot5 ~ 0 middot5 -7 0 -5 [ middot7

- n ~

-[

U -8 ~ u

7 U U U i-5 middot8middot ~ U -8 -8 -5 middot7 6--8-7 middot5 8 -7shy c

U u middot5 8-1 r

UUU~U U u -7 c u 7 C

7-5-4 7

7 5--7 middot5 -5[ U [ U U U [ U 0 7 c

U u A

u

5

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Enr sirlCl Eddie Van Halcn and Yngvvie 1alnlsteen turned the guitarshypbying world upside-don in thc late 70s and e(lrly flOs guitarists

eerywlllrL haH spent countless hours in the woodshed working their fingers to the bmw and earing down frets in an effort to cop the fiery virshytuosic licks of Joe 5atriani 5tec Vai Marty Friedn1an and Paul Cilbert as cll elS Van Hekn and Malmstcel1

It these kinds of monster chops h1e thus far eluded you or if youc only Jlcenth discmcrcd the world of terrifying technique then DVD Guitar

from Hal Leonards cxciti new At a ClanCt series is your remedy Nut as scholarh or forma) as traditiclilal method books the material in DVD Gliitar Shred is presented in c1 snappy and fun manner intended to hae YOU svlep picking t(pping and otherwise shreddin every which V but loose in irtually no time elt II Plus the At c1 Chmce series uses real songs by real Mtists to illustrate how the concepts YOUH learning are clpplied in some of the biggest hits of III time For txampk in DVD Cllitilr Smd ynullltellTl licks from over 20 rock ~hred (1J)d instrumental cbssics including Van Hellens Eruption White Lions Wait v1egadtths HangtlrlS and Yngwie Malmstcens Black Star

dditionlly e(Kh book in the At cl ClalKt series comes with a DVD conshylclining ideo lessons that correspnnd to the printed matlrill The DVD that accompanies this book contains four ideo lessons each c1pproximateshyIv fI to to minutes in length thilt correspond to each chapter in DVD Cuitar Sflred In these ideos acclaimed shred instructor Troy 5tetincl vill

shOv vou in t detail etrytling from proper swtep picking technique to naigating long legato sequences without txtraneous string noise

As vou nrk through DVD GlIitor try to play the examples first on vour OVll emd tlwn check out the DVD for additional tips or to ste how a pc1rticulelr lick is extcuted As the saying goes A picture is worth il thoushysand words so be sure to use this imaluablt tool on your quest to becoming the consummatt shrtd guitarist

3

GlIittlriSb ~lIch tIS Yngwic IVtllrnsteen Paul Cilbert and Steve Vai Me 11 well known for their frttshybon1 pwwess md tlllir music likely has much to do with V()U purchlsing llld lIsing this book But

skillful use of speed is not limited to the sll-called shred gCgtllre Indeed morc mainstream songs likt vhitesnlkvs Here I Co Again Tntos Rosannel Dire Straits Sult1llS uf Swing (lnd Vln Iourneys Fe1ithfully 111 feature l11agically melodic solos cclppvd or injected vvith specmiddotely lines thlt build to musical climx Further they e(lch svne as In example of why een if specd is not relly your fllCUS 1lt 1 pldver its 1 spine-tingling skill worth adding to your tlrstnal

In this kSltOIl lre going to sh(l you some bISIC s~wtd-building exercises for both picking tllld kglto slljUlncls in rock 1td-guitM shitS to help YOU build ll11lnster chop~ regMdlclts of uur musicdl style Its illlportmt though that Oll reali7e mel understand thtlt speed alone is just speed The exercises presented in this chapter will also improve the ((IlL OLl produce with our hands IS cll IS your lbilishyt III klCp Ilm~j( md thus sl1 in the gromc

Using aMetronome her notin how the lines of some technically giftcmiddotd guit lih~ John Pdrucci Al Di Meola or [lul Cilblrl l1l so prlcisl and in the gwme Thlts btCIUSl theyre all pro~onlnts of practicing with tl

mdronomc~~tl1l lssentiaj tool fl)r keeping tempo stcldv while Y(lll deelop lCcllrclcy 1l1d gradually ()Ik up our speed If VOl try to pI) fast before you can ply sloly accurateiv and with solid time l)L111 just sloppy results

If oue 11rellh got 0Ill mel know how to use it skip 1hcad to the first excrcisc set a tempo at which vou cm plc1 it pcrfectlV mel go If you dont On a nwtronome stop reDding gd to tl music store Ind

bu one If yOU own one but Ment fcll11iliar with how it wurks rCllct on

r-irst Stt your mdronome to a tempo at which you Gill plav 1 scale up and dOvn using altt1T1lte picking mel an eighth-l()tt rhvthm (tvo notes per mdronome click) without making IIYV mistakes Playing straight sGlles isnt the most musical endeavor but it will help you memorize the scales shpl and sound while building vour alternate picking techshy

niqul and timing If voure not sun what tempo to stmt with trv 72 bpm

OK Ids tn it with an i minor scale in fifth position

How to Practice Beforc you begin the exercises e want to spend some time talking bout pmcticc As we mentioned YllU should be using alternlt1te picking for all of the exercises and sequences in this lesson Besides playing to a metronome you should tap your foot in time vitl it This

T c c Q -5 -7-1 8-1

8-6-5 T y y y

7-5~~7-5

c 0

y

8-7-5J 8-7-~v u

n ~ - 11 11 - n i n I 11 ~ ~ 11 n I 11

will help you internalize the groOl mel flei for plying in solid time

Once VOUl achilcd basic ftlrniliarity with whicheer or excrcise youre working 011 -rite down the ttmpo at which you could play it clcanly with the metronome Start off slody Lery dy and inch tl1l mdronome LIp to the higlwst point you had il the d before if possible On some days it will lll slowl than before This is normal

4

dn till ll1d of Pur practice ession trv bumping it up one notch higher just to see vhlre the clilshy

il 1- I )(illt IlPltlttdh ltlttcmpt to at 1 kmpo hcvond your re1(h as this ill onl tcach YOLI bad

hlhih like pLling ith tno much hmsion in our hmd lrI11S or body St1 relaxed md tltlke your

(Inll building lip your s~lld

Ok Itt~ through lnotlwr cliL this tinl A mljor to help vou Wlrl11 up ReITHmL1lr start slowh

1lel Clll1ll1l trd te on tillt Ii llger Pl ttern 1 nd you r pic k t1 ttlCk rltl1(r thln spcld

-9-1 7-9-10 -~ -7 10-9-7 I

J middot7II shy 6-7-H ~

middot9middot

-11 5-7 J -7 middot5I n c

-V

In plllIlg bllth the A minor mel A mljor sclle patterns in othtr keys too 111ming thelll up and

dll1 tilt ned so thlt YOU become accllstol11ld to how VOllr fingers feel vvith the different fret widths

Scale Sequences I 11ing edlt melkls tor a grtlt warm-up (lnc it certlinly llllps build your technique but like we lid it l1l)t lilt most musiG1II applicable exercise Mound To bethr build speed and technique vvith

nll-li nHISicll phrases we use melodic fragments called to navigate the scale

i ill tljUlllClS 1n quite lIseful for building speed (md coordination

flw ti r- t lercise is bu iIt using tl tou r-notl sequcnce from the minor scale resu Iting in note groupshy

ing ()f -B-C B-C-D-L and su on until we reach the highest note of thl sGlle patshy

krn-tlw high C It the lighth frlt on the first string Then vou reprse the sequence and descend the

llll

T middot5 ~ middot5-6shyT -I - -7

5-7~5-7-8-5-~ 0 middot5 ~ 0 middot5 -7 0 -5 [ middot7

- n ~

-[

U -8 ~ u

7 U U U i-5 middot8middot ~ U -8 -8 -5 middot7 6--8-7 middot5 8 -7shy c

U u middot5 8-1 r

UUU~U U u -7 c u 7 C

7-5-4 7

7 5--7 middot5 -5[ U [ U U U [ U 0 7 c

U u A

u

5

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

GlIittlriSb ~lIch tIS Yngwic IVtllrnsteen Paul Cilbert and Steve Vai Me 11 well known for their frttshybon1 pwwess md tlllir music likely has much to do with V()U purchlsing llld lIsing this book But

skillful use of speed is not limited to the sll-called shred gCgtllre Indeed morc mainstream songs likt vhitesnlkvs Here I Co Again Tntos Rosannel Dire Straits Sult1llS uf Swing (lnd Vln Iourneys Fe1ithfully 111 feature l11agically melodic solos cclppvd or injected vvith specmiddotely lines thlt build to musical climx Further they e(lch svne as In example of why een if specd is not relly your fllCUS 1lt 1 pldver its 1 spine-tingling skill worth adding to your tlrstnal

In this kSltOIl lre going to sh(l you some bISIC s~wtd-building exercises for both picking tllld kglto slljUlncls in rock 1td-guitM shitS to help YOU build ll11lnster chop~ regMdlclts of uur musicdl style Its illlportmt though that Oll reali7e mel understand thtlt speed alone is just speed The exercises presented in this chapter will also improve the ((IlL OLl produce with our hands IS cll IS your lbilishyt III klCp Ilm~j( md thus sl1 in the gromc

Using aMetronome her notin how the lines of some technically giftcmiddotd guit lih~ John Pdrucci Al Di Meola or [lul Cilblrl l1l so prlcisl and in the gwme Thlts btCIUSl theyre all pro~onlnts of practicing with tl

mdronomc~~tl1l lssentiaj tool fl)r keeping tempo stcldv while Y(lll deelop lCcllrclcy 1l1d gradually ()Ik up our speed If VOl try to pI) fast before you can ply sloly accurateiv and with solid time l)L111 just sloppy results

If oue 11rellh got 0Ill mel know how to use it skip 1hcad to the first excrcisc set a tempo at which vou cm plc1 it pcrfectlV mel go If you dont On a nwtronome stop reDding gd to tl music store Ind

bu one If yOU own one but Ment fcll11iliar with how it wurks rCllct on

r-irst Stt your mdronome to a tempo at which you Gill plav 1 scale up and dOvn using altt1T1lte picking mel an eighth-l()tt rhvthm (tvo notes per mdronome click) without making IIYV mistakes Playing straight sGlles isnt the most musical endeavor but it will help you memorize the scales shpl and sound while building vour alternate picking techshy

niqul and timing If voure not sun what tempo to stmt with trv 72 bpm

OK Ids tn it with an i minor scale in fifth position

How to Practice Beforc you begin the exercises e want to spend some time talking bout pmcticc As we mentioned YllU should be using alternlt1te picking for all of the exercises and sequences in this lesson Besides playing to a metronome you should tap your foot in time vitl it This

T c c Q -5 -7-1 8-1

8-6-5 T y y y

7-5~~7-5

c 0

y

8-7-5J 8-7-~v u

n ~ - 11 11 - n i n I 11 ~ ~ 11 n I 11

will help you internalize the groOl mel flei for plying in solid time

Once VOUl achilcd basic ftlrniliarity with whicheer or excrcise youre working 011 -rite down the ttmpo at which you could play it clcanly with the metronome Start off slody Lery dy and inch tl1l mdronome LIp to the higlwst point you had il the d before if possible On some days it will lll slowl than before This is normal

4

dn till ll1d of Pur practice ession trv bumping it up one notch higher just to see vhlre the clilshy

il 1- I )(illt IlPltlttdh ltlttcmpt to at 1 kmpo hcvond your re1(h as this ill onl tcach YOLI bad

hlhih like pLling ith tno much hmsion in our hmd lrI11S or body St1 relaxed md tltlke your

(Inll building lip your s~lld

Ok Itt~ through lnotlwr cliL this tinl A mljor to help vou Wlrl11 up ReITHmL1lr start slowh

1lel Clll1ll1l trd te on tillt Ii llger Pl ttern 1 nd you r pic k t1 ttlCk rltl1(r thln spcld

-9-1 7-9-10 -~ -7 10-9-7 I

J middot7II shy 6-7-H ~

middot9middot

-11 5-7 J -7 middot5I n c

-V

In plllIlg bllth the A minor mel A mljor sclle patterns in othtr keys too 111ming thelll up and

dll1 tilt ned so thlt YOU become accllstol11ld to how VOllr fingers feel vvith the different fret widths

Scale Sequences I 11ing edlt melkls tor a grtlt warm-up (lnc it certlinly llllps build your technique but like we lid it l1l)t lilt most musiG1II applicable exercise Mound To bethr build speed and technique vvith

nll-li nHISicll phrases we use melodic fragments called to navigate the scale

i ill tljUlllClS 1n quite lIseful for building speed (md coordination

flw ti r- t lercise is bu iIt using tl tou r-notl sequcnce from the minor scale resu Iting in note groupshy

ing ()f -B-C B-C-D-L and su on until we reach the highest note of thl sGlle patshy

krn-tlw high C It the lighth frlt on the first string Then vou reprse the sequence and descend the

llll

T middot5 ~ middot5-6shyT -I - -7

5-7~5-7-8-5-~ 0 middot5 ~ 0 middot5 -7 0 -5 [ middot7

- n ~

-[

U -8 ~ u

7 U U U i-5 middot8middot ~ U -8 -8 -5 middot7 6--8-7 middot5 8 -7shy c

U u middot5 8-1 r

UUU~U U u -7 c u 7 C

7-5-4 7

7 5--7 middot5 -5[ U [ U U U [ U 0 7 c

U u A

u

5

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

dn till ll1d of Pur practice ession trv bumping it up one notch higher just to see vhlre the clilshy

il 1- I )(illt IlPltlttdh ltlttcmpt to at 1 kmpo hcvond your re1(h as this ill onl tcach YOLI bad

hlhih like pLling ith tno much hmsion in our hmd lrI11S or body St1 relaxed md tltlke your

(Inll building lip your s~lld

Ok Itt~ through lnotlwr cliL this tinl A mljor to help vou Wlrl11 up ReITHmL1lr start slowh

1lel Clll1ll1l trd te on tillt Ii llger Pl ttern 1 nd you r pic k t1 ttlCk rltl1(r thln spcld

-9-1 7-9-10 -~ -7 10-9-7 I

J middot7II shy 6-7-H ~

middot9middot

-11 5-7 J -7 middot5I n c

-V

In plllIlg bllth the A minor mel A mljor sclle patterns in othtr keys too 111ming thelll up and

dll1 tilt ned so thlt YOU become accllstol11ld to how VOllr fingers feel vvith the different fret widths

Scale Sequences I 11ing edlt melkls tor a grtlt warm-up (lnc it certlinly llllps build your technique but like we lid it l1l)t lilt most musiG1II applicable exercise Mound To bethr build speed and technique vvith

nll-li nHISicll phrases we use melodic fragments called to navigate the scale

i ill tljUlllClS 1n quite lIseful for building speed (md coordination

flw ti r- t lercise is bu iIt using tl tou r-notl sequcnce from the minor scale resu Iting in note groupshy

ing ()f -B-C B-C-D-L and su on until we reach the highest note of thl sGlle patshy

krn-tlw high C It the lighth frlt on the first string Then vou reprse the sequence and descend the

llll

T middot5 ~ middot5-6shyT -I - -7

5-7~5-7-8-5-~ 0 middot5 ~ 0 middot5 -7 0 -5 [ middot7

- n ~

-[

U -8 ~ u

7 U U U i-5 middot8middot ~ U -8 -8 -5 middot7 6--8-7 middot5 8 -7shy c

U u middot5 8-1 r

UUU~U U u -7 c u 7 C

7-5-4 7

7 5--7 middot5 -5[ U [ U U U [ U 0 7 c

U u A

u

5

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

- - - - --

~~krls the ~ltlmt -cltlle sequence only this time in A major

-j ~10 -7-9 ~10~9-10 ~7 ~9-rm7-9-10- ~ -g 10-10middot -97 u a -7 middot10 -9 -7- -10 -9 -7 n

-7 n ~

n 7

--9-7-6-9-7-6 7-6-----6------~--------------~----------------------------------Q--l----9-7--9-7-6 -7-6---7-6 I 6--------------shy------------------4----------------4-------9-----9-7-1---9-7-5-9-7-5--9~middot7-5------5-------~

Pentatonic Sequences The major mel minl) scales you( been using are prilllarilv thrle-notcs-per-string ShlpCS This physishyC11 11 out results in certain pick attack pCltterns that can become crutclws hen you pia tast lines But to become true fretboMd ma~lLr you need to feel comfortable with lt111y scale shape or plttern One llf tilt ebitst lVS to thnm your buckling speed chops a curveball is to toss in the two-notes-pershystring minor pentatonic box shape And because nearly all rock guitarists use sequencls from the minor pentltonic scall its an incredibly functional exercise as wlll

To kick things oti lets check lHlt sorne sequences within the A minor plntltl)nic scale in fifth position The first seljlltnce is constructed with a groups-of-three pattern in which well pby Ill three notlS ithin onl belt-1 tripllt rhythm iv1c1ke sure your font is tlpping with the metronome as a1ays but llO ()lIll (1IhIT1ltlte-pick three notes per click If ~ou need to slow the tcmpo dovvn to do this thZltS tinl Its tnllre important right now to play it clcanly than quickly Also voull notice that clry other ti1nl-notl SCL]UlIKl ill begin with In upstroke which ill further improve your speed skills

o ~ 0 -5---5shy Q -~ B ~ -5shyT r -5 u u u

n 7 r r ~ -5 -7 u ~ )-I-)-shy

u [ -) -7shyD r o u

middot8v - -shyI j

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

rhj~ next plntltpnic seqmnce is 1 flt1oritc nf guitarists Zakk Vdde Eric Johnson and Joe BOnll1l(h~ltl-pltlrticLlbrh the desClnding portion of it ArrlIlged in groups of six lIld notated 1S sextushypkts (si siklnth noks per bc1t) the sequence is plltlved with 1 strelight feel rc1ther them with 1 tripkt tvel 1 is COl11mun with sextuplets Alsl) lwcllIs(c youre squeezing six notes into each mltmnomc click oulllwcd to stMt ltIt sl() tempo try beginning atto bpm Trust me its not as slow as it -t)unlb l

~------------------------------------C--08T-av-rj----------------------------------~__---------n ~~~===============~c---~---c----7j-8--o----~--A8--u-r---8u-v5---u8-5----c---~~--c--------------T------------4tl--zr------5 7 C 7 _ u ______________ u o_ 7 _C u c 7 c-5--7 _ u- -+-______________

18~---5-7----S5--77 -a- a ~ v - - I u 0 c5L_______--Ll

f

ror this Illxt pcntcltonic sequence we shift back to an eighth-note rhythm but wcre nm using an eight-note gmuping This one is actuc111y (ry similar to the prCious six-note grouping except that

descend till minor penttonic scale by two notes at till end of each lllCilSUle to set up the next lscent

Sd our mLtronome lt comfortable tempo md dont forget to tap V011r foot as VOl play through the sequcncl

T -8--5 ~ -5--8 -5 v c

-5 -7 r r ~ -5shy -7tl 7 u 7 r 5shy -7

u -I

1 t

o u -7 -7+5) r

Ii Ii Ii Ii

-8 u 0 r c5-+---P

--5-~ -I Ishy-7 c c ~v -7 -5- ~ u

v -Ishy-1-0- v

n c v u

OJlt lets r1ise the techniccll bar little In this Iltxt cxercist youll clscend and descend the A minor pentltltonic ~Ccl1e in d ((ur-note sequence skipping (l string between the slc(nd md third notcs of celch grouping This one is admittedly more l11ethldical th1I1 mUSiGll but the ability to lCcurtely skip ~trings while staving in time is key to effective phrasing when playing high-speed lines

8--8-~ I C 7 u v _gt 7-5 v U

(I Jr-i u - C u I 0 7 c I v

U u

U U v

To hear minor pentatonic scale sequences in action check out TC)JlV lommis solo in Black SabbClths dilssic cllltllll1l Children of the Cran Noticc how he includes the) blue note (6L -hich offsets the rlwthl11 of the sequence for an interesting

EnglandcopyCopyright

Words and Music by Frank lommi William Ward John Osbourne and Terence Buller

7

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Legato Speed Building Picking ccry singk note of evcry speedy passage-especially a long one-call lead to whats Litscribed (IS typevvriter phrasing To remedy this guitarists can usc legato techniques like hammershyOlb pull-offs and slides to assume part of the work done by the picking hand ltith the added benefit of making some phrases faster than ve could alternate-pick them

Tht being said a common pitfall among guitarists using legato techniques in fast-paced lines is to rush through the legato parts simply because its a little easier to execute So as you play through the tXlITises and sequences in this section try to evenly space all notes focusing on the click of the metronome lnd the tap of your foot

Thl first lx(llnple is a rock lick based on the A Dorian n1Ode Here focus on keeping steady time at the spot whlre a hammer-on is followed by tvvo consecutive pull-offs in beats 2 and 3 Again practice slolv and stladily and keep your foot tapping with the metronome

7 7 c -5--8 -5 -7-8 -7-5 i-T v

Tshy-

11 1 t a

This next lick is one of Eddie Van Halens favorite moves where he alternates hammer-ons (md piLked noles from string to string Take note here of the fingering pattern also one of Van Halens creltions vhieh has come to be knovvn as the EVH scale Because of its harmonic ambiguity its not often L1sed in the context of melodic contour but rather as a ehicle for fast passages connecting point A to point B within a solo

TIll altenlltion of picked and legato triplet groupings will really test your ability to stay in tempo StMt slowl enough that you dont rush the legato portions

3 ~II)

T 7 -8 middot1r middot7 u

If

II 7 ~ 0 In IV

-M -11-11

v

11 -7 -10

Legato Sequences T(j further round out your speed-building regimen you can go back and practice all of the scales and sequences youve learned so far using hammer-ons and pull-offs exclusively picking only when a string comes into play for the first time for maximum efficiency

For example heres how the A minor pentatonic groups of three sequence sounds using this approach

lt - 3 - ~

-8 c v u

-v v middot7 ~ r c

-t)shy v ~ v -~ -5 7 -5 c---shy 8~- v

I I

Now go back ilnd try this approach on the A minor and A major scale patterns and sequences from this lesson

8

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

c

More Sequences To close out our speed-building ksson here are a few patterns populclr among shred guitc1ristlt- lk sure to plav each sequence with both alternate picking dnd legc1to tLchniquls mel 11Ol them up lnd down the fretbtlard You elIl also where possible apply Eddk Van Hllens alttmlting picking 1lld

iLgato sequcncing

This first stqucncl is 1 major scale sequcnce in six-note grouf1ings To rbllh drivc home the rhythm leClnt ) the first note of each sequence You can 1bn experiment using a slight p1lm mutl

gt gt

~T~~-------------------------------------------------------------------------77---~nl---lI0--~nt~7t===============================~~==~7~==--g------fe~==~7==-_9===~==--7------~~=~--6)-----------~----------~~~-----------5---7r------94---5---7---9-----------------------------------------------------~

middot7 -9---------------------------------------------------------------------------~

--------7--~gn-110-10middot99-7r--------------------------~-----------------------------~ t Y10-----------110-9-7-10-9-7 97 -6 -9 -7 c6-------t------------------------------H

----------------------------------------------9--7tt----16ti-r9----7t - 6-----------________~---L--~ --------------------------------------------------~-------9--77 middot5 ~7 c

~ I gt

I

Ihis flext seqllence--nne of Pelld Gilberts faorites--grollps thl first six notes of the A minor scale together and moves thenl LIp one octave at a time The new chil11enge here is milking tIll position shifts while staving in time

-

And finallv here is a Paul Gilbert-inspired major-scale sequence (stiwting on the 3rd) thltlt ascends six notcs drops b1(k one sCdle degree clnd thcn ascends another six notes drops back one scale degree and so on and so on Additionally every six-note grouping begins in cl new position so youre continshyually shifting linearly up the fretboard

9

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

With his extn_mely unique approach to phrasing Steve Vai doesnt often makLmiddot use of sequences_ When Ill does hOeer he makes them COLlnt This blazing lick frorn ] vVould L(we To sequencls 111 lrplggio motin fron C major dovvn through each string set

By Steve Vai

Om of the more famous sequences in the shred orld is YngwieMalmsteens neoclassical A harmonic minor lick that kicks off his solo in Ill See the Light Tonight This one shifts positions quickly and oftln with no mercy Strive for an even attack and make sure you stick to that metronome

Ltd

Words and MUSIC by Yngwie Malmsleen and Jeff Scott Soto

I )m c E7 Am

E7

IU 13-12-13 n

12-10-12 -7 -10 __ ou

-6- -9- -t ~ n u u -7 u -5- -l)- -7 u

10

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Listcn to such master guitarists 1S Joe Satriani Steve Vai or Allan Holdsworth and from tinle to time oull hcu long liquid lines like those youd hear from (1 saxophonist flowing freely from

their fingers to create cclscading torrents of notes To generate that silky sound they usc the legato techniqueS In Lesson 1 you used legato techniques in context of speed-building exercises but herc lre going to further examine this essential shred technique

Frum the Italian mcaning smooth legato techniques helve been uscd by those and many other guishytlrists not only to execute fluid lines but also to flcilitate blazing speed guitarists vvc achieve a legato sound primarily with three techniql1ls 1111 II III 1 l-(JJS pll-otr~ and slides

Itamllur-on Pull-off

T - ---

Those are the basic clements of the legato technique and ones youre likely quite comfortable using Yd its interlsting hov many guitarists dont feel the need to practice legato playing after they get those basic 1110es down They figure If I Ccln pick every note of (1 lick then I can surely play it with h)mmlr-ons md pull-offs But this is definitely nelt the case

Sure H all know lots of cliche licks that lise some hammer-ons clnd pull-offs like these

But not nearl as many players have true command over the legato technique and thats exactly whv Wlre here

Exercises

Lets start with a fev exercises thatll let you know right avvay where your eglt1to technique stands

First if youre not familiar vith the old 1-2-3---l picking exercise here it is

~ 0 ~ IT 2-3

~

v V L ~ -2-3-4

~

q ~ ~ v

L V

11

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

----------

c

For th is leg) to iLsson hOHCr were going to dd 1 few tw ists First ()U StMt the lou r-nok grou pshying on I dithrent finger llCh time nd second you onl pick once for elCh string When you reach

belt ~ of bell 2 shift vour frd hlIld up one frd and descend the pattern When you rCltlCh tilt Ilst note

on till sith tri mOH vour hand up one more fret 1l1d continul repeating this process until you ngtlch the hel fth tngtt

---- T 1-2-3 ~ v 1-4 ~~r-~r---------------------------1---L--4--11-L2--vl~r-----------------------------------------~

middot5

0 C L u v v

3-4-5 -5-6-3 0 e v L v v v Vl -3middot C 0

L

The next exvrcise is 1 three-note triplet ariation of the pngtiuus one At first glancl this appcdrs easishy

er th1I1 the llSt one-exc(pt that youll be using your fret hands middle ring clnd pinky fingers to

plly it 1lther thdn the stronger imilx middk and ring finger combinltion

1111 ~

~T~~~================================~==~==~~---=~l~===_3__---__1==-~L_--_-_~~=~_3-_-_-~L_--_-_3~_----=~==~l-~~~ J1 ~

c v

- ry middot5shyL v _l _l

ry v lt v v

Right bout 1l00Y VOU t1lly be feeling a bit of animus toward us thats OK beGllIse we realize that

sOI1lldav when youre able to effortlessly pull off those Satriani-style legato runs youll look back to

this torture md thank us (Oh and by the way youre vccome)

OK for your next two exercises we shift into reverse clnd try the versions of the

ItlSt two workouts The first one is the four-notes-per-string version using all four fretshy

hi1nd fingers _c -~

~ ~ It

A

~v

ry 5-4-3shyv L L L - middot3

~ - -3-6-5-4shy-~ - e -~ L V ~ ~ ~ U

ry middot5 ~ 0 c

clc

L

12

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

-- -

L

nd Illrl i~ the triplet pull-off version played with your fret hands middle ring and pinky finglgtrs

ry shy 3T ~ L

~ middot2 1 L U L

11 ~ ~ u

0 1-3 u L

IJ 2 1 -u

~ c middotA ~

~

c U L u U

gt ry c V -

With III four of thesc cAerlisls continue the pattern (Ill the way up to tIll 12th frd Practice these lTry day if possible and always lISC ltl metronome As you( probablv figured out by now these lxercises are I ~(rioll~ workout Take brtltlks hell Y0l need them becduse your lett hand and especillh your forllrm are gonna get prett sore The old adage Uno pain no gain does not apply to the muscles in your forearms and hands If vou feel pain stop immediately and take a break

Three-Notes-Per-String Scales A 11 common application of the ieg(lto technique is to 111) scallr runs using patterns that comprise thrce nolls per string This is a good way to glt all fOLlr fingers imohed in the legato process

Lds stut ith an ascending C major scalc in triplets Pick only once for new string

What goes up must come down so vhen you reach the eighth frd on the first string slide your pinky finger up to the tenth fret and then descend the G major scale using this finger pattern

----1lJ-~middotC R 5-7- 0T u u 10-8middot middot7

If If

u 57 -4-5-7 J U t Ie

~

iJ v u 0 u( u V

- I

NtH lds put those to together for one fluid scabr run Strin for (1 smooth sound clnd a consistent olume throughout

C -7 -7-8710-8- 10-8-7

9-7-5 cu -5 7shyIi -t ~

I

7shy Un c 32shy q- 0u J

---

13

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

--------

lou cm turn this lick into a grtlt exercise too by continuing up the fretboard to (Iry position of the c mljor sclll Youll essentially be playing through all seven modes of C major These modls are indishycltld btIU till tab staf Use cl tempo slow enough that you can pi) through the entire lxercise withshyout stopping and hile stewing in rhythm

~----------------------------~--===---5-7-8~10-8-1--~~~r-------------------------- 10-8-7-+~==~--------------------~

=========================+~9~~7~5==------------------~-M-~r------------4-5-7 9-7-5------~ _8 =3-5-7 3-5-7-~~------~--------------------------+_------~~~9-7-5------~-~~--------------~--------------------------~--------------~~-8-7-5~

--shy

One common pitfall that players tend to fdll into when using legato technique is letting the finger patshyterns dictltc till rhythms In other words if thevre playing three notes per string thty ahvltlys play triplets or sextuplets If theyre plying a scale pattern that contains tin notes per string-like the minor pentatonic-thev play in eighth or sixteenth notes Its important to be able to plan the accent (mywlllre in the legato phrase Mastering that discipline will free you LIp to use any rhythm you want

To you started on your quest to rhythmic freedom lets play the G major scale you just plclyed only in a sixteenth-note rhythm instead of triplets And clS you play through the

accent each downbeat If its a picked note strike it lt1 little hilfder If the dovvnbeat occurs on a hammer-on or pull-off LlSC a little more force than on other notes

J

Novv lets try playing an A minor pentatonic scale which has two notes per string in its pattern but in ltl triplet rhythm so that the accent appears on each downbeat Like the last

its tough but an essential skill worth developing

middot5 8---8 -5T

c

middot5 middot8 -8-~ = middot7

vmiddot5 -7l 7 -7 c - -7shy

-7 v

c c u u

14

u~v - i

- v

-

- middot7 shyT middot5 7 middot8 -0 -1-5- shyI ~

v -5- bull5- r to 4-5-7 7-5-4

~ -5 ~

-r

- v

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

__

Hammer-on from Nowhere When executing hammer-ons and pull-offs youve so far had to pf(wide a pick attack to initiate the IIIOH But thlts not ahvays necessary Many top legato players will use the illlllllCr-OIl (mill Jlmpcrc

technique when descending a scalar line for improved speed and uniformity of sound

The concept is pretty siITlple When youre mOing from one string dowll to (1 lower string YOll dont need to use the pick Instead you hammer onto the target fret with the appropriate fretting finger It takes a fair bit of force and it works best vvith a distorted sound but it 111akes for an exciting eapon in vour legato arsenal Heres how it sounds with an A minor pentatonic scale

-=---8-5 -= ~-~r-~----8-5 ~= 8-5~~~~---------+--=------------+----~---I~l----------7-5------L-=~---7-5------+-7-5 -~ ~~~~4r-----------7-5---------7-5------+---7-5----------+---~~B~~----------------~~~~~-7-5--~-----7-5-----r~---~~--------------------------------------------~I~~~----------~~T~==--8-5 5 ~__~

--

Some adenturous players will also use this technique when ascending but its more difficult because vou hae to time the hammer-on with the release of another finger whereas you dont have that probshylem when youre descending Still its North spending some time on the technique

~~Cji~=================~~5-~~-~-~7==~-~5~~_-_-7===tl=d-_5-~_-_-_-_8====-5_~====8=---_---_r~--------------------1-1 ~B~---5~~~----8~~~~~~-~~---~-~7==========================j=========================~~ ~

Hammer-ons from novhere dont really come to life when used in the context of playing scales so lets check out some licks that make use of this flashy technique

This first one is a descending sixteenth-note lick in E minor that repeats an octae lower Its a killer rock lick in the style of guitarist George Lynch but the best part is that you pick only OJcc at the beginning and thats it

-T--15-14-12~r~5L~~~1~2==~~=-~~~~==========~~~====================-~=~=======~~==============~ T l 11 di 12 9 12 9 1

=~g~~~~~==_4~~_-_~_-~_-_-~~_-===__--=-_1=_2=~=_9===-==-J~t-2=-10=-=-=--=-=-1=2=-=~t=-1=0-=-~-=-~-=-~-=-~-=-~-=---=-=-=-~-=-~-=-~-=-~-=-~-=-=-=-=-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=--t1 ~ ~

This next lick in A minor adds a new challenge in that it contains many different rhythms making it more of a real-life musical example Note that in bar 2 the descent down the A minor scale is played in J2nd notes You can approach this rhythm in two ways The first simply play it as fast as

you can OK not really The best way to approach it is to think of it as two sets of four sixshyteenth notes played in the space of a single beat

A i 7

B

15717~15-12 12 ------shy~ ~

----shy5 7--5 - ~ 15 15-13-12 -14-12 f7--5 - 14-12107--5

15

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

I hl-gt Ill J Jl)llc D(lIi1ll with the A blul- -clk You could USl this lick oer tl rock boogie or

hulliv lik Ill( -tri(1l1i~ Satch Boogie or f)lid Lll Roths Bump Md Crind

T __0 u

v v

f crcs Olll thM lICes wlll-placed shift slides to descend hvo full octans in D minor Like the previous

Ikk thi- Ollt is arranged in tl -cxtuplct rhymiddotthm which means everv note is eenl) spaced Usc thesl

t) licks til work on achiling cvenness of tempo and middotolume

---- - ~O--13----110-~-81---11O----8-~~~~=---=-=-=---------=----=--==-==--=-----=--_c~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-=--H ~~~r------------------lI0u middot9 -7~5 7---5----------------------------1

0-~~~~~~middot------------------------------------------middot71 middotv--------------------------~ 1n~~----------------------------------------------------~~---r-~middot8-7---middotcti=-~~~3---middot~5-------~

~-----------(

Single-String Legato Lines notl1lr om IIIon (lpplic(ltion of legato tcchniquc is to create single-string phrases where you traverse

the tllck Iong onl string using nothing but hltnl1Wrs pull-offs and slides Ihough popular among

hrcddlrs bILllS rockers like Jimi Hendrix and Sttmiddotie Ray Vaughan also used this technique to great

dtlct

t-krec tl lick that trlcls down the C mior pentatonic scale all along the third string

T 1 12-14-1 12--9~7-9-1 ~4-- -0 -2-01f T ~ _L L --Ie

C

Sunil pl1cr- like to use this technique with sort of cl rhapsodic rhythrn hich can create a slithery

inuolls dfect YOll just basic(llly pick ( scale pick a string strike it once and then let your fingers do till middotllking

Hert all ample ith cl C Vlixolvdian line The rhythm is somewhat advanced if youre hwing

lllluble LlSl the perforrnallCt on the DVD s your guide to get a good feel for it

------

16

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

iO Lots clwck out some famous legato runs as employed by the masters Texas irtuoso Eric lohnsoll opens up one of his instrumental classics Zap with a burning line from the F minor ~lLlltatllnic scale Although Johnson can pick as well as anyone here he employs hammer-oils pull-offs md slides throughout to achieve a smooth uniform sound

By Eric Johnson

= Ill

Stle Vai demonstrates why he reigns as one of the true masters of the legato technigue with this

climactic descending C major scale flurry during his gut-vrenching Tender Surrender so]o Notice the lbl of the hammer-on from novhere several times throughout for a truly look ma no right hand II effect

Written by Steve Vai Cll1dj ~

I

==== -shyL _~_J L_ _

Yngwic Cd ps off the chorus of JJRising Force with a blazing three-notes-per-string legato descent through E harmonic minor If triplets seem a bit slow for the Swedish shredmaster keep in mind that the tempo is a mere 248 bpm

Words and Music by Yngwie Malrnsteen and Joe Lynn Turner

~1~~~---------------------------08----~5----4---------------=$ ~ ~ ~a~~7~----------------------------------__--_77___ o5shy___4_ _______~r_______________L-r____~- ~ jt~==================================~~~~===t~==========~L2==--~------~

When it comes to legato playing Eddie Van Halen is best known for his revolutionary two-handed tapping technique but his traditional legato lines are equally amazing One of Van Halens favorite J1IOes is to mix legato and pick attacks in sequenced phrases as he does in this excerpt from his Knustic shred clinic Spanish Fly

I lTl though the time signature changes from 4 4 to to 34 in the course of just three measures tht phrltlSing feel is triplets throughout so focus on maintaining even temporal spacing betvveen picktd (lnd legato sequences

17

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

--

- -

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

= ()

I ron VIa ielen S lightics metal anthem U Aces High is treated is to a classic open-string pull-off lick courtesy of Dan Murray He Vi1PS up the phrase vith a speedy and slippery ascending run through 111 minor sclk pattern in twelfth position

Words and MusIc by Steven Harris

T 0 u u -f

-~ v v 5-u-(-5 v v u -7 u u (-5 u u middot0 u v u middot7 u

l- 7

IJ

- i

And to llosl out this legltlto lesson we look to legato legend Allan Holdsworth But you might want to Lil) sonw serious finger stretches first With his li1rge hmLis Holdsvorth often injected li1rge-interval jumps on the s1l1lt string (lnd frequently employed four-notes-per-string sequences in his seamless Iqlto phrlSls Ilere are the final five and a half bars of his solo to Road Games for jllst a taste of his lhliciollSh liquid lines

Words and Music by Allan Holdsworth and Paul Wiliams

~on------ II -~ ~----

12-13-1371 Iv 1pound -13-15717--+17+--h ~10-12-13 t

- i-18

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

In till I11Hi-7(j I kinn llUIl~ Dutch kid ll1rnvd Lddil m Hiiln II] li~htinh up tIl I t ruck lt- lui (Ill Iith I mOlblr ound and ltl 111 tlrilll Ill kchnilllll-lllshrillu bltlllSl he pLlcd

tb higt to thl ll1dilllcl 1 hlIlllr Iw u~ed it But in 1975 lhCIl hi bllld- cIHitkd dlbut 111

Ii 111 uniLshld for II till world to IWIL V1ll I LIILIl Slcrll 11 lUt lnd Ill I)S on hi 111 t(l

dlring hI pldel 11l10ng till most inflllLnti11 gllitMists thL lorld hl- 1 v] kJl)I1

en though ~lIitMits ueh b Hdckllt (Clnlsis) Frdnk lPPtl mel Brilll t1 IIln u-ing tIP ~iIlg kchniqlll bdore hlll1 dnd plILrS including rlb BClC 11 ito Ihlltl 1I1d leff VltsOIl 111 ( ]ivd till b1l inll Fddie m Itllcl1 1) is 1Ild 1 ill 111 be tili iiill I Itll It llIll to 1 l-hmdlll t f)shypltlg nd It II sttHh of courl ith hi tm Lb gtliLlr 011 I nl fti(lI1 biLi lonLlIIWcl ) ml I l bll) gl l1t lrplggio pL1tLi Lister thlll 1m gu it rit hld (Il hltHd

Tapping Triads IIKl thh )rpl)gill apflicltllin1 i~ probltlbh tl1l lISil~t 11~)~ing kCi1lllcllll to I11degtlll it d plclCl t(

SHt The blic tlchniqul imlllls ttlpping Ollt nnk dl1d plling tlll 1l0tl ilb (lur frltti hand l ln Iwll ill be tlp~ld pulkd off or h11l1n1lrcd (In s() (1U dUIIt Illld (lur fjck It i t (lll

1 ill h1l tll figure out hat to dl with llil pick hill OLlrl ttl ng

Ikelusl Iddi hukb his pick bdlln his thumb md middll tinger hi indl tinglr b IrlL tll tdlll hi ttipping lims But (l1l Eddie shOls hiegt pick in hi mouth or in thl knuckil of hi middk fing () 11lt l11 bdtLr stbilic his tapping hlIld on till 11lck If OU ml tUll11ui)te rddie (lU Clll Lip thl 1111 ()I OU rlll follo till Illd 01 otiwr tpping i7tl1cis like Reb BeKh ho UlS his middk flllgl1 to Lip ell his tipping hiIL hulding his pick in fldCl bdYll1l higt thumb mel indl tinger I hlrt j lin right PI Tong il to cill it lpcrimlnt lIith e1(h of the 1~)lr(lKIll~ 1Ild use the ont tht- blt h1 ll

() Id 11kL ) louk tit I ttlppLd mincH IQ1lggio II (lll till tir -lring ~ llll pl) tht ctlmpiL l)l url tll mull tlw lowlr strings ith tl1l pllm ot Llur tapping illlld so th dOIlt tHt ringin~ llUt

This is tIll intlnallic arrmgcl1wnt heard in Eruption and thus tlw most commonl used on But tilerl 11( III orts of ariltions VOlt can use to crCltc nL I For stltlrtlrgt llll em simp nlrsc tile Hdlr uf thL nutcs on the fifth 1l1d Lighth frlb Iikl this

1 bull ---

19

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

----

----

- - - -

l)r ou cm llk-rnatl tlwir ordlr mid-lick likL thi

1-- I~

2-5-8-2-5-8-2-8-~-2-8-51

iI i bull i bull ~ )

Thosl Ml two of the morl common variltions but for real adlnturl trv placing notls other than the tlppld Ol1l on tht downbeat Ti) sound the first note just do a silent pull-off with your tlpping finger Youre blsicalh just plucking the string on the neck instead of down by the bridge mel pickups lS you would do with (1 normal pick attack

I krl Ml four driations using this concept

T n7-t u

1_ 1_ ~ 1~ j __

u 12 -5- -8- 12-5 -8-125-8 shy i

-shy ) I - )

or

-=---1deg1-5--12 -8 -5 12-8-5-12-8-5-1t2~-8---------c1

- -

Obiollly ourl not going to go through life tapping on just the high E string_ YOlt can take this Sltl1l thne-notl concept and 1110( it to different strings to create Mious arpeggios As vou mOl from string tn string muting may beCOt1ll an issue but its an easv one to handle As 1 rule youll Lise our tlpping hmds palm to mute all of the strings lower than the one youre llsing and the undershyside of your fret hands index finger to mute the strings higher than the one youre using Use this approlch on tIll following lxlt1Il1ple

[) Am E

notlllr approcKh commonlv llsed in tapping scqulnces is to play different ltlrplggil)s up MId down 1

singlc string This next txt1lllpk takes you through a C-Am-Bm-C-D-G progression all ia tlpping on the first string The challenge here is to makt the position shifts vithout losing a beat As o]ways Lise a lllltronOm( and set it at cl speed that allos you to pia v the passage vithout losing the groOc or nl(lking mistake

20

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

I~ I~1shy

( j Am I_I~I~

-I

D ( j

ow if Oll gl)t through tlllt one OK youre ready to gin the tapping section of Eruption a go

Here Me the first eight bars of Van Hellens tapping bonanza

All

MUSIC by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

--

( t

Sinngt youre dealing with a three-note triad shape triplet rhythms are obviously very common But you can turn them into 16th-note licks just by doubling up on one of the fret-hand notes The first pattern is a step-ise walk dovvn and back up an A minor arpeggio

I~ ___1I __________ I ~ I~ I -------- ~ 1-shy

12 _R -~ -8 ~ 0 c n 12- _0 -5 middot8 -12 u lt u 12- -8 -5-8-1~ 0 lt 12-8-5-8-12-8 5

T middot12 -~

This second sixteenth-note tapping pattern turns the root A fretted with your index finshyger into a pedal tone

I ~ T-------- I -------- 1-- I~-

_0 -1122-lt5--8--lt5--12 ~ -5-12 -5 -8 22-5lt-se--5 -12 -5 -8-5-12-5--8--5--12--5--8--5~-~ c

II

3

21

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

- - - -

Scalar Fragments II I111111l~ 1111lt111( h tVlt1l1lh IlPt Ill11ikd tu 1Il ilil ~irnph 1dding dll

tIl ll IlIk 1(gt lHlr Irlt hlnd dutiv TlItl 1 ~lilr OIliI(III hirll nll CI11 then lhl

L 1 Iing ~illll1th-npll L1PI)lng lint- like thi lllllding phrbl trpm thl minor

Iilt

dd jllt lh) OIW ltrl null 11 0 grllth lplIlds the phrasing lIilti()l1lt 1lillbk to

(ILL 11L1l )1 Ilht1 fl1 llt pultibilities ulting this tourlluk pltllrn earh starting with the

t1pPd rwk

T -12~~--1-8-12-5-7--8--12-5-7--8-12-5-7- tlshy

tl

-shy

12-8-+-7 -12-8-5-7-12

lIt IikL UlI did Iith tlw thrll-nutl l1pLggio patterns lMlin Oll r111 stlrt these fourshy

Iwll scllM hlgn1lnts un 1 llPtl (ltlwr thln thl tdppld (lIW lIsing i1 sillnt pull-off elcutshy

td ith (lU [lipping finger I lerl Ire lour lriltions llsing this lpproarh

ow lets telkl I look (It some tapping licks using thls Miatiulls This iilst Ol1l is a tier

dlclnding lint in C

nd l1lrl llllL thilt lsrlnds till [) minor s(lle llong the serond string VVhill oure tapshy

f)ing tinglr j duing it job hift our tret hlnd up tn the lle-t POeitiOll

- - - -22

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

---

Ascending Tapping Licks and Patterns Sll ftH VCC only plltlyed with licks and exercises thelt litlwr dcscend )eWS tIll trings or 11ml hunshyuntalh along just Olll string But vou (an Isp t)~) our YW II) through the strings_ BeclllSl 01 the

phsiclllout of till guitar and the flet that fe guitclrists splnd 111 time performing hJllIlWr~(IJ- ith thei r frd-hand i nelex finger (lscend ing phrasls Me more d i ffieu I t th1Il dLsccnd i ng Ollegt bu t it Ii prlCticl this skill will set vou ilpcHt from thc crovcL

1) begin kt asclnd two octi1CS of a G meljor SCdJc using this approach

I

~4~~------------------------~-111-12-14--12--~i~~~--~ ~~~~~---------5--ir--~~--11n 7~10-12 ~---3~ -5 ___-7---81-~~~------~---------------L----------------~

VVhln using the tapping technique to ascend scales or licks you haH two options ior mo ing to the Il(t higher string You Cdn either h111l1lWr onto the string vvith your fret himels indlgt finger or Oll

Cll1 USl I right-heme finger to pluck tlw string directIv ftcr VOl tap_

rapping 11l1stlr Reb Beach ot Winger fame uses the lltter technique IS Ill S1S thtlt it pn)ides the

most sclmless fluid sound Judging by the tlpping phrses in his solos to such Vinger hits as USCln tllIl 1I1d Hlaeled for ltl Hemtbrea k hes right Tr both ays llld Cl hl t fllb blst fl r vou Then gin that C major sclle another whKk bllt this tillle take it up a full thrlt oclnls Kross

II six strings_

Lclrning lnd mastering ascending tapping technique opens up a hole Ill realm of poshysibi Ii ties includ ing c1sctnd ing pentc1ton ic Iicks and arpeggios Lets try I itWI hll c)

Heres a great E minor plntatonic c1sclnding tapping lick to get you stMtcd

lleres another E minor pentatonic tltlpping lick but this onc includes (lsctnding and

desclnding contours on each string and incorponltes il -ariltion used by Eddie Vn Halen in Hot For Teacher and Joe Satriani in Satch Boogic--tlw USl of open strings

You can lso usc ascending tapping patterns to fabricate multi-octan arpeggius d techniqul used b guitarist ~uno Blttellcourt in Extremes Get the Funk Out Becaust of the Iclrge intcnll iLgtplt achielcd witl the tapping approach youll typically need to skip strings vIhen tapping l11ulti-nctl Mpeggios_ This vill make the plucking method of sounding the first notc on the lllXt highcr string I

little more difficult and it mlkcs thl hammer-on mlthod slightlv easier Still try it both

Vel)s to set vhich ltlpproach works best for VOll

l-krts n A Illeljor Mpeggio that ascends and desclnds on strings) 3 1Ild I

Jl Ll n -I shy

~

--shy J 12 -17 -6 _n 14-- ~

rshy12 1---- shy -q

- shyI

23

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Tapped Bends Ih 11(l Hlue come to set there arc netlrly endless pnssibilities for unique md dduling phrasing hell Llsing the tlpping ttchnique Hut lwliee it or not vve( only just begun

()nt of the Illoslettectin techniques used bv rock guitMists to create lxpressiH phmsing string-bendshying Well who -15 vou cant bend strings and tap at the same time Truth is YOU can and the (ombishynllinll l-dll sound downright sublime

To begin blnd note with your fret hand as you normally would and then tap onto a higher fret whill till noll is still bent Oll can then let it ring or pull off to the fretted bent note Heres an

exmple

T

VI1ll1 middotou consider pre-bends bend-and-releases ltmd the variolls orders of notes voull find tons of lri1tions possibk for this type of lick Here Me just a fevv

hd hld I I -shy

-

il)ld hthl

T shy-12---+12+--7 -12---r-----l~----~

D

~ -

I

You (1n lso play unorl111l licks vvith this technique to give them a totally different sound For eXnnshypie herls 1 basic A minor pentatonic lick fretted in the traditional manner

7 c ~ - -7middotmiddotmiddotmiddotmiddot u 7 c II T u

- It

Nuw compare that vvith this ersion using tapped bends By the way to produce ibrato on 1 hlpped note lise your fretting hand to shake the string as you normally vvould letting your tapping finger stav on for the ride

24

Tapped Slides 13esides bending tapped notes you can also slide them Heres an E minor pentatonic sequence on the B string using tapped slides

For most guitarists moving cl tapping finger up and down a string is cl hole new skill thdt will take some time to deelop the rnuscle mernnry to makt the technique seamless So the key here as usual is to plav at a tempo slovv enough that you can egt-ecute the tlchniques cleanly and in time while deeloping said muscle memory

I eres descending lick from the E blues scale fll a different angle on the technique

nei of course you can cornbine tapped bends and tapped slides into one lick for 1 completelv J10l1 sound Heres a B minor pentatonic lick that does just that

- shy J ~ shy

~12L1 vplusmnplusmn~ IiiIiiI T

shy1120shy

OK now lets take a look at some famous tapping sequences that employ the concepts taught in this lesson The first example contains the first senn and a half bars of Van Halens Hot for Teachel into which Eddie Van Halen incorporates position shifts along a single string pull-offs to open strings clnd mmtment across strings

Copyright copy 1984 DIamond Dave

AJI Rights Reserved

All Rights for Diamond Dave MusiC A1mnstmrl All Righls for Van Haen MUSIC Arlrrnistprnri

Words and Music by David Lee Roth Edward Van Halen Alex Van Halen and Michael Anthony

Am i-

D

- ---shy -Dill

i ----

Ll 12-0-3-7 ~0-3-7-l-127-3-0-3-7-12-7-3-0-3-7+12-7-3-0-3-7-12-7-3-0-5-9+12-9-5-0-5-9-12-9-5-0-5-9 f-12-9-5-0-5-9-12-9 ==

J--shy

As vve l1llntioned earlier achieing fluid clnd seamless I1sc[JIdiJlg legato Jines is a challenging task but its one tht Winger guitarist Reb Beach has made look easy throughout his career A proponent of the tap-and-pluck approach Beach has said his goal was to make his ascending tapping runs sound smooth as ltI saxophone and this E minor tapping lick from his solo in Seventeen certainly meets that criterion Note Beachs tasty tap-and-slide technique too

i

25

--

INC

Words and MusIc by Kip Winger Reb Beach ana Beau Hili ( I

middot14 ~

~~--=_--=--middotmiddotmiddot~17____middot1_9__17__1_5_1~ -16-19 -17 16--11d--17--16--14--18a--I~J----~~~-----------~

111 flP lullurt Clrctgt guitMist NUllo Bettencourt is best known for his pluck n s)P 1(Ollstic fnctvvork ill I irll11l 0 Il)q(l cr(lssmer sil1bh More Than Words But among guitar pbyers Blttencllurt is 1( llLl III lrv tpr his nwnstlr chops thm his monster bdllads-) reputltion well-eanwd IS made lidellt h he L1rfvd H~lLggios in his suln l)J1 Clt tIll Funk Out The following four bars of frltbodrd clcrob)tshyit clrl IllUgh but OU mel tind them easier than it appears Tlke yOUI time to mlkl the line sound as lllJd )-0 flhoibk pHticulMh on the string skips and position shi and then conClntrlte on the rhythm

Words and Music by Nuno Bettencourt and Gary Cherone

_ I 1_1_ I~

1____ 1----- 1---

111 Iq~7 White Lion hit tIll hair met)1 circuit with Wait ) smash hit buoyed by guitarist Vito Bratt)s (1-1 tdflL-t in the songs snlo Truly il COl1lp~)sition within a composition Bnltta combined tapped bend - ttl tPl~i sl iellS kgMo stides mel t) pped Mplggios tll cfeate one of the most lxpressi l guita r Slllu Il)t just of the h)ir mdalcr( but of III time Here Me the opening fic and il half bars

- MGB SOllqs

Words and Music by Mike Tramp and Vito Bratta

7 D

[)II)I dd) I A7 III shy

~

13-9 ~ middot-10-12 -7 -7 7+--6 -shy-7

n

26

Just s fddie Van I-tlen turned tle guitar world upside dun with his Jl(lllltiolllr tlt1pping lLchshynlqul I le l-HS ariter when Yngwll Mlmsilen hit AmlrIC1I1 shmls 111 ILlkj Itli hiS deblll

Illrlaquo( itlrish lrl once lglin sellt b1(K to tht woodshed tll (lrk Il(lt (lnh llil Ilwil 1 Ikrnlil

~Idilg I hop but lIst) on I Ill tcchniqul SllP picking A I1Hhl ll(mumicdl 1plmlCh In plning

Hplggil h ~)r(lptr Slq Iiding (111 lsth imprme till ltticilnn lI1d splcd (It (lUI Flicking hlIld

Illl rlti(llllk f(lr -llP ficking is simpk hell plding I pilr]- Ihlt ((lntli (1Il1 (1111 notl Pll

tring likl elll 1IVlggl(l itgt flstir t(1 lISl L(llblcutil trnkl in thl slIlW dirltillll1 Iwn mll in (1)111

tring til tring rltllll 1111tl llkrnlting (lnv hik slllLddlls like tllmstlllliiSun Iltkll md 1(111

ldlI~il1l lpl(litld th( gtllp picking tlcillllljlll l1lc1stlrtulh 11 lrplggios (lthlr Ii Irmk

l llllblit Lhld it (1111 tinw thn sitdwd strin~s

cld lIlld l~ thl spccd attlinabil through llf icking luo n1lm guitHistc In tll jllmp right 111 dnd elr ll~)ln~ t tull tllllpo You (mt Illel-l d blgglr misLIke In thie ksson ln I1g to brldk dll1l till tlchniqul to its LSlnti11llemlnts and ~h( nHl thl cornct sleping tlcioniqut 0 PlIlI

be slqing th1l1ugh r~wggil)~ 11103 licks in no tinw

Proper Pick-Hand Technique lt-)llp picking i 1 simpk ClHlClpt but it require 1 lot ot rctinll1llnt and prKlill 11 SlTt nutl

iHluld sound dS cleM Slpillclk md rlwthmic11h KClIIc1IL is dC1llh ltlrnlll-pickld notls s(lund I)llth till pick hlI1d 1Ild frd h1I1d ill contributl to it ckalltlclitioll

Ihl tirst tq on your mld to 1ll1stcring elIT picking is tn ieoL1tl the Flicking hlllds pMll tw lecllshy

niqul III Lin 0 heflS dll Cllllplt thlt lblS till top thrle opell strings so vou don hl( to think t elll 1bllll till frltting hand fnr nm

lt-)IMt lth cl downstroke llll the third string but rather thll1 mming 0111 pick 11 trom thl guilclr 1

(1U ()uld with 1 normal downstroke follow through stright don 1lld rest your pick inst thl

Iwt string N~t pik till slcond ctring and Id the pick follow through 1I1d ((lllll to rlst lg~linst till

tibt string Finall pkk the first string Whcn sped up the consecutilh- gruupld do nsmkes He

Ktllal clcuted in olle continuous [m

~ IiiIiiI s OU plrhlrm the dOlb llI_ Illlkl

sure your rit does not fl)tlk md kllP

the pick It the sanw 1lgll regard less of which string ourl playing or in hich

d i rLctioll OU rL mo ing TIlt swceping mmemellt l-omes from extend ing (dollsWelpc) lnd flex ing

(upslle) the entire Mill FOCllS on pushing thl pick thr()ugh lach string s it molS tolrd the llld

ltll Inc dont Id the string resistlllce change the posture of your hl1ld fhat yw the pick ie still in

the pro~wr position hen ifs tinll to StMt [])1

111 upSLep

ow Ide chmgl dirldion 1Ild pLrlorm thl 1117(11[)) 3eclllSl ()ure orking

lgainst gr1itv lS llI IS the strings

llsistlIlCl llPll-e HL I littk more d ifshyrindt but tOlllS on the tidlils of the technique 111li oull be fine -10 begin pick till first string with

dll upstnlkt mel ld tIll pick mpl straight up to the bottom silk ot thL slClmd string RlPlltlt with an llpstrnkl llll the s(cond string coming to

middotIll rest on the third lnd tlwn pll 1n -+---__vx A - x-J(-------x vA upstroke on thl third string and HIl ~~Xo--X---------middotl~(~--rX--------middot-X[--

completed the lIpslep LI

OK lets put the two motions together

nu 27

Fret-Hand Technique I1lIl1LlP picking our fretting hlIld must mlke sure that only one tmw lt cl time is produced b rliLd1ll1g clnd damping the prliuLls note 1nd fretting the next ()Jll onl when it should sound This is 1 trjc technique with 1 lot of subtle timing but jf you stMt slowl md hll plticncl it will come lr(lund

fo prlctice this I11mc lets pplv it to 1 Bnldj7~Om7 swecping lick in fifth position on the top four

strings hrst lign our four fret-hand fingers Olr the frets but dont press them down vet

I3lginning with the pinkv finger 011 the fourth stringpress tach finger down t the time that note is supposed to bl heard clnd gently release it 1S the next note is plltlyed For the upsweep on the Om7 portion USl till same process only in reerse ordtr

LJIll7 Bi)lllaj7 Dill7

_0 0 _0 Q

middot6 middot61 middot7 middot7 _~ v v J

Ll 0 ~ ~ v shy v

~

1ltll1wl11lwr to llse 1 metronome when practicing your swecp-picking technique Ti)() many guitarists when sweep picking cleanly play the Oest mel highest notes of the phrast with il slightly muted scratch comprising 111 the Ilotes in the middlt using thc metronome helps to reinforce tht t 1(h

noll of tht lrplggio is (quail important cllld thus should be equally heard

Heres allother swcep-picking exercise with which you can practice frd-hand muting Continue thc pltl ttern up to fou rtelnth posi tion lI1d then wl)rk bl( k down the fretbolt1rd

t 0 ~ 0 u u v

I - 0 _C 7shy c middot3 7 1-5Ie u v v

PICK-HAND MUTING DVD Sweep picking is usually performed while using high-gain amp settings As a result extrashyv IDE 0 neous noise can be a real issue To help keep your phrases clearly articulated youll want to

use a little pick-hand palm muting This is relatively easy to accomplish simply let the side of your pick hands palm brush against the strings as you pick them With the high-gain settings typishycally used in the shred realm those slightly muted notes will still jump through the speakers

Int of commonly llstd ltlrpeggio shapes contain tvvo or more consecutive notes played at the S1I11t

frd on adjacent strings Nhen that happens its often necessarv to use the same fret-hand fingemiddotr CMeshy

tull fUlling tht tip off of one string so that the pd plays only the next olle (ilscending) without letshyting tht notes ring together And when the mOement is reersed--dcscending from a higher to a lower string on the same fret~you hcle to plan ahead playing the higher note with the finger pad so that

Otl can then roll your finger off of that note and cltch the lo-er on with your fingertip

Here is all A major Mpeggio that contains consecutie notes on the top two strings at the fifth fret Before you try that however practice the mOe on this basic two-string A5 arpeggio

_0middot5 t

5-5 c I v v -+~-I~------5------50i------~-------50 v v t______~

~ ~--------------v_~77 T 7 v v _ ~

n

r

28

-l[ IvI ltllld tbM finger-rolling technique to three strings using this populiH A minor arpeggio hl pl

111

11 11

I he l II H~eggio swpes vou just phlyed A major net A minor ltHe two of the more popul1r shapes lIstd in conjunction with the sweep-picking technique Here is 1 diltlllic exercise in the key of C

llldjor thlt relics on thest tWll shapes exclusilk

---11-----shy

-ill

i1

(

I

fkr oue played through this exercise in C I1Hwe it around to nther keys as well

Three-String Arpeggio Shapes In lddition to the four-note trid shapes you just played sweep-picking shredders just lol to usc thnl-string trild shapes played on the top three strings of the guitM Here are those shapes arranged into 1 sep-picking exercise in the key of D

) Em (

r ~ -2-2

-5 -3 v

c

Ll ltgt C L

U IJ

Bill

NlXt ln going to toss you a cUfveball and add (1 second chord tone to the first string of the arpcgshygios you jllst played resulting in a seven-note sequence with alternate picking on the top string

Heres the Slme D major arpeggio exercise from before with tht extra note on tht first string Use the picking directions below the first two beats for the entire exercise

J) Em 1111 ( i

i1

29

--

INC

Words and MusIc by Kip Winger Reb Beach ana Beau Hili ( I

middot14 ~

~~--=_--=--middotmiddotmiddot~17____middot1_9__17__1_5_1~ -16-19 -17 16--11d--17--16--14--18a--I~J----~~~-----------~

111 flP lullurt Clrctgt guitMist NUllo Bettencourt is best known for his pluck n s)P 1(Ollstic fnctvvork ill I irll11l 0 Il)q(l cr(lssmer sil1bh More Than Words But among guitar pbyers Blttencllurt is 1( llLl III lrv tpr his nwnstlr chops thm his monster bdllads-) reputltion well-eanwd IS made lidellt h he L1rfvd H~lLggios in his suln l)J1 Clt tIll Funk Out The following four bars of frltbodrd clcrob)tshyit clrl IllUgh but OU mel tind them easier than it appears Tlke yOUI time to mlkl the line sound as lllJd )-0 flhoibk pHticulMh on the string skips and position shi and then conClntrlte on the rhythm

Words and Music by Nuno Bettencourt and Gary Cherone

_ I 1_1_ I~

1____ 1----- 1---

111 Iq~7 White Lion hit tIll hair met)1 circuit with Wait ) smash hit buoyed by guitarist Vito Bratt)s (1-1 tdflL-t in the songs snlo Truly il COl1lp~)sition within a composition Bnltta combined tapped bend - ttl tPl~i sl iellS kgMo stides mel t) pped Mplggios tll cfeate one of the most lxpressi l guita r Slllu Il)t just of the h)ir mdalcr( but of III time Here Me the opening fic and il half bars

- MGB SOllqs

Words and Music by Mike Tramp and Vito Bratta

7 D

[)II)I dd) I A7 III shy

~

13-9 ~ middot-10-12 -7 -7 7+--6 -shy-7

n

26

Just s fddie Van I-tlen turned tle guitar world upside dun with his Jl(lllltiolllr tlt1pping lLchshynlqul I le l-HS ariter when Yngwll Mlmsilen hit AmlrIC1I1 shmls 111 ILlkj Itli hiS deblll

Illrlaquo( itlrish lrl once lglin sellt b1(K to tht woodshed tll (lrk Il(lt (lnh llil Ilwil 1 Ikrnlil

~Idilg I hop but lIst) on I Ill tcchniqul SllP picking A I1Hhl ll(mumicdl 1plmlCh In plning

Hplggil h ~)r(lptr Slq Iiding (111 lsth imprme till ltticilnn lI1d splcd (It (lUI Flicking hlIld

Illl rlti(llllk f(lr -llP ficking is simpk hell plding I pilr]- Ihlt ((lntli (1Il1 (1111 notl Pll

tring likl elll 1IVlggl(l itgt flstir t(1 lISl L(llblcutil trnkl in thl slIlW dirltillll1 Iwn mll in (1)111

tring til tring rltllll 1111tl llkrnlting (lnv hik slllLddlls like tllmstlllliiSun Iltkll md 1(111

ldlI~il1l lpl(litld th( gtllp picking tlcillllljlll l1lc1stlrtulh 11 lrplggios (lthlr Ii Irmk

l llllblit Lhld it (1111 tinw thn sitdwd strin~s

cld lIlld l~ thl spccd attlinabil through llf icking luo n1lm guitHistc In tll jllmp right 111 dnd elr ll~)ln~ t tull tllllpo You (mt Illel-l d blgglr misLIke In thie ksson ln I1g to brldk dll1l till tlchniqul to its LSlnti11llemlnts and ~h( nHl thl cornct sleping tlcioniqut 0 PlIlI

be slqing th1l1ugh r~wggil)~ 11103 licks in no tinw

Proper Pick-Hand Technique lt-)llp picking i 1 simpk ClHlClpt but it require 1 lot ot rctinll1llnt and prKlill 11 SlTt nutl

iHluld sound dS cleM Slpillclk md rlwthmic11h KClIIc1IL is dC1llh ltlrnlll-pickld notls s(lund I)llth till pick hlI1d 1Ild frd h1I1d ill contributl to it ckalltlclitioll

Ihl tirst tq on your mld to 1ll1stcring elIT picking is tn ieoL1tl the Flicking hlllds pMll tw lecllshy

niqul III Lin 0 heflS dll Cllllplt thlt lblS till top thrle opell strings so vou don hl( to think t elll 1bllll till frltting hand fnr nm

lt-)IMt lth cl downstroke llll the third string but rather thll1 mming 0111 pick 11 trom thl guilclr 1

(1U ()uld with 1 normal downstroke follow through stright don 1lld rest your pick inst thl

Iwt string N~t pik till slcond ctring and Id the pick follow through 1I1d ((lllll to rlst lg~linst till

tibt string Finall pkk the first string Whcn sped up the consecutilh- gruupld do nsmkes He

Ktllal clcuted in olle continuous [m

~ IiiIiiI s OU plrhlrm the dOlb llI_ Illlkl

sure your rit does not fl)tlk md kllP

the pick It the sanw 1lgll regard less of which string ourl playing or in hich

d i rLctioll OU rL mo ing TIlt swceping mmemellt l-omes from extend ing (dollsWelpc) lnd flex ing

(upslle) the entire Mill FOCllS on pushing thl pick thr()ugh lach string s it molS tolrd the llld

ltll Inc dont Id the string resistlllce change the posture of your hl1ld fhat yw the pick ie still in

the pro~wr position hen ifs tinll to StMt [])1

111 upSLep

ow Ide chmgl dirldion 1Ild pLrlorm thl 1117(11[)) 3eclllSl ()ure orking

lgainst gr1itv lS llI IS the strings

llsistlIlCl llPll-e HL I littk more d ifshyrindt but tOlllS on the tidlils of the technique 111li oull be fine -10 begin pick till first string with

dll upstnlkt mel ld tIll pick mpl straight up to the bottom silk ot thL slClmd string RlPlltlt with an llpstrnkl llll the s(cond string coming to

middotIll rest on the third lnd tlwn pll 1n -+---__vx A - x-J(-------x vA upstroke on thl third string and HIl ~~Xo--X---------middotl~(~--rX--------middot-X[--

completed the lIpslep LI

OK lets put the two motions together

nu 27

Fret-Hand Technique I1lIl1LlP picking our fretting hlIld must mlke sure that only one tmw lt cl time is produced b rliLd1ll1g clnd damping the prliuLls note 1nd fretting the next ()Jll onl when it should sound This is 1 trjc technique with 1 lot of subtle timing but jf you stMt slowl md hll plticncl it will come lr(lund

fo prlctice this I11mc lets pplv it to 1 Bnldj7~Om7 swecping lick in fifth position on the top four

strings hrst lign our four fret-hand fingers Olr the frets but dont press them down vet

I3lginning with the pinkv finger 011 the fourth stringpress tach finger down t the time that note is supposed to bl heard clnd gently release it 1S the next note is plltlyed For the upsweep on the Om7 portion USl till same process only in reerse ordtr

LJIll7 Bi)lllaj7 Dill7

_0 0 _0 Q

middot6 middot61 middot7 middot7 _~ v v J

Ll 0 ~ ~ v shy v

~

1ltll1wl11lwr to llse 1 metronome when practicing your swecp-picking technique Ti)() many guitarists when sweep picking cleanly play the Oest mel highest notes of the phrast with il slightly muted scratch comprising 111 the Ilotes in the middlt using thc metronome helps to reinforce tht t 1(h

noll of tht lrplggio is (quail important cllld thus should be equally heard

Heres allother swcep-picking exercise with which you can practice frd-hand muting Continue thc pltl ttern up to fou rtelnth posi tion lI1d then wl)rk bl( k down the fretbolt1rd

t 0 ~ 0 u u v

I - 0 _C 7shy c middot3 7 1-5Ie u v v

PICK-HAND MUTING DVD Sweep picking is usually performed while using high-gain amp settings As a result extrashyv IDE 0 neous noise can be a real issue To help keep your phrases clearly articulated youll want to

use a little pick-hand palm muting This is relatively easy to accomplish simply let the side of your pick hands palm brush against the strings as you pick them With the high-gain settings typishycally used in the shred realm those slightly muted notes will still jump through the speakers

Int of commonly llstd ltlrpeggio shapes contain tvvo or more consecutive notes played at the S1I11t

frd on adjacent strings Nhen that happens its often necessarv to use the same fret-hand fingemiddotr CMeshy

tull fUlling tht tip off of one string so that the pd plays only the next olle (ilscending) without letshyting tht notes ring together And when the mOement is reersed--dcscending from a higher to a lower string on the same fret~you hcle to plan ahead playing the higher note with the finger pad so that

Otl can then roll your finger off of that note and cltch the lo-er on with your fingertip

Here is all A major Mpeggio that contains consecutie notes on the top two strings at the fifth fret Before you try that however practice the mOe on this basic two-string A5 arpeggio

_0middot5 t

5-5 c I v v -+~-I~------5------50i------~-------50 v v t______~

~ ~--------------v_~77 T 7 v v _ ~

n

r

28

-l[ IvI ltllld tbM finger-rolling technique to three strings using this populiH A minor arpeggio hl pl

111

11 11

I he l II H~eggio swpes vou just phlyed A major net A minor ltHe two of the more popul1r shapes lIstd in conjunction with the sweep-picking technique Here is 1 diltlllic exercise in the key of C

llldjor thlt relics on thest tWll shapes exclusilk

---11-----shy

-ill

i1

(

I

fkr oue played through this exercise in C I1Hwe it around to nther keys as well

Three-String Arpeggio Shapes In lddition to the four-note trid shapes you just played sweep-picking shredders just lol to usc thnl-string trild shapes played on the top three strings of the guitM Here are those shapes arranged into 1 sep-picking exercise in the key of D

) Em (

r ~ -2-2

-5 -3 v

c

Ll ltgt C L

U IJ

Bill

NlXt ln going to toss you a cUfveball and add (1 second chord tone to the first string of the arpcgshygios you jllst played resulting in a seven-note sequence with alternate picking on the top string

Heres the Slme D major arpeggio exercise from before with tht extra note on tht first string Use the picking directions below the first two beats for the entire exercise

J) Em 1111 ( i

i1

29

Just s fddie Van I-tlen turned tle guitar world upside dun with his Jl(lllltiolllr tlt1pping lLchshynlqul I le l-HS ariter when Yngwll Mlmsilen hit AmlrIC1I1 shmls 111 ILlkj Itli hiS deblll

Illrlaquo( itlrish lrl once lglin sellt b1(K to tht woodshed tll (lrk Il(lt (lnh llil Ilwil 1 Ikrnlil

~Idilg I hop but lIst) on I Ill tcchniqul SllP picking A I1Hhl ll(mumicdl 1plmlCh In plning

Hplggil h ~)r(lptr Slq Iiding (111 lsth imprme till ltticilnn lI1d splcd (It (lUI Flicking hlIld

Illl rlti(llllk f(lr -llP ficking is simpk hell plding I pilr]- Ihlt ((lntli (1Il1 (1111 notl Pll

tring likl elll 1IVlggl(l itgt flstir t(1 lISl L(llblcutil trnkl in thl slIlW dirltillll1 Iwn mll in (1)111

tring til tring rltllll 1111tl llkrnlting (lnv hik slllLddlls like tllmstlllliiSun Iltkll md 1(111

ldlI~il1l lpl(litld th( gtllp picking tlcillllljlll l1lc1stlrtulh 11 lrplggios (lthlr Ii Irmk

l llllblit Lhld it (1111 tinw thn sitdwd strin~s

cld lIlld l~ thl spccd attlinabil through llf icking luo n1lm guitHistc In tll jllmp right 111 dnd elr ll~)ln~ t tull tllllpo You (mt Illel-l d blgglr misLIke In thie ksson ln I1g to brldk dll1l till tlchniqul to its LSlnti11llemlnts and ~h( nHl thl cornct sleping tlcioniqut 0 PlIlI

be slqing th1l1ugh r~wggil)~ 11103 licks in no tinw

Proper Pick-Hand Technique lt-)llp picking i 1 simpk ClHlClpt but it require 1 lot ot rctinll1llnt and prKlill 11 SlTt nutl

iHluld sound dS cleM Slpillclk md rlwthmic11h KClIIc1IL is dC1llh ltlrnlll-pickld notls s(lund I)llth till pick hlI1d 1Ild frd h1I1d ill contributl to it ckalltlclitioll

Ihl tirst tq on your mld to 1ll1stcring elIT picking is tn ieoL1tl the Flicking hlllds pMll tw lecllshy

niqul III Lin 0 heflS dll Cllllplt thlt lblS till top thrle opell strings so vou don hl( to think t elll 1bllll till frltting hand fnr nm

lt-)IMt lth cl downstroke llll the third string but rather thll1 mming 0111 pick 11 trom thl guilclr 1

(1U ()uld with 1 normal downstroke follow through stright don 1lld rest your pick inst thl

Iwt string N~t pik till slcond ctring and Id the pick follow through 1I1d ((lllll to rlst lg~linst till

tibt string Finall pkk the first string Whcn sped up the consecutilh- gruupld do nsmkes He

Ktllal clcuted in olle continuous [m

~ IiiIiiI s OU plrhlrm the dOlb llI_ Illlkl

sure your rit does not fl)tlk md kllP

the pick It the sanw 1lgll regard less of which string ourl playing or in hich

d i rLctioll OU rL mo ing TIlt swceping mmemellt l-omes from extend ing (dollsWelpc) lnd flex ing

(upslle) the entire Mill FOCllS on pushing thl pick thr()ugh lach string s it molS tolrd the llld

ltll Inc dont Id the string resistlllce change the posture of your hl1ld fhat yw the pick ie still in

the pro~wr position hen ifs tinll to StMt [])1

111 upSLep

ow Ide chmgl dirldion 1Ild pLrlorm thl 1117(11[)) 3eclllSl ()ure orking

lgainst gr1itv lS llI IS the strings

llsistlIlCl llPll-e HL I littk more d ifshyrindt but tOlllS on the tidlils of the technique 111li oull be fine -10 begin pick till first string with

dll upstnlkt mel ld tIll pick mpl straight up to the bottom silk ot thL slClmd string RlPlltlt with an llpstrnkl llll the s(cond string coming to

middotIll rest on the third lnd tlwn pll 1n -+---__vx A - x-J(-------x vA upstroke on thl third string and HIl ~~Xo--X---------middotl~(~--rX--------middot-X[--

completed the lIpslep LI

OK lets put the two motions together

nu 27

Fret-Hand Technique I1lIl1LlP picking our fretting hlIld must mlke sure that only one tmw lt cl time is produced b rliLd1ll1g clnd damping the prliuLls note 1nd fretting the next ()Jll onl when it should sound This is 1 trjc technique with 1 lot of subtle timing but jf you stMt slowl md hll plticncl it will come lr(lund

fo prlctice this I11mc lets pplv it to 1 Bnldj7~Om7 swecping lick in fifth position on the top four

strings hrst lign our four fret-hand fingers Olr the frets but dont press them down vet

I3lginning with the pinkv finger 011 the fourth stringpress tach finger down t the time that note is supposed to bl heard clnd gently release it 1S the next note is plltlyed For the upsweep on the Om7 portion USl till same process only in reerse ordtr

LJIll7 Bi)lllaj7 Dill7

_0 0 _0 Q

middot6 middot61 middot7 middot7 _~ v v J

Ll 0 ~ ~ v shy v

~

1ltll1wl11lwr to llse 1 metronome when practicing your swecp-picking technique Ti)() many guitarists when sweep picking cleanly play the Oest mel highest notes of the phrast with il slightly muted scratch comprising 111 the Ilotes in the middlt using thc metronome helps to reinforce tht t 1(h

noll of tht lrplggio is (quail important cllld thus should be equally heard

Heres allother swcep-picking exercise with which you can practice frd-hand muting Continue thc pltl ttern up to fou rtelnth posi tion lI1d then wl)rk bl( k down the fretbolt1rd

t 0 ~ 0 u u v

I - 0 _C 7shy c middot3 7 1-5Ie u v v

PICK-HAND MUTING DVD Sweep picking is usually performed while using high-gain amp settings As a result extrashyv IDE 0 neous noise can be a real issue To help keep your phrases clearly articulated youll want to

use a little pick-hand palm muting This is relatively easy to accomplish simply let the side of your pick hands palm brush against the strings as you pick them With the high-gain settings typishycally used in the shred realm those slightly muted notes will still jump through the speakers

Int of commonly llstd ltlrpeggio shapes contain tvvo or more consecutive notes played at the S1I11t

frd on adjacent strings Nhen that happens its often necessarv to use the same fret-hand fingemiddotr CMeshy

tull fUlling tht tip off of one string so that the pd plays only the next olle (ilscending) without letshyting tht notes ring together And when the mOement is reersed--dcscending from a higher to a lower string on the same fret~you hcle to plan ahead playing the higher note with the finger pad so that

Otl can then roll your finger off of that note and cltch the lo-er on with your fingertip

Here is all A major Mpeggio that contains consecutie notes on the top two strings at the fifth fret Before you try that however practice the mOe on this basic two-string A5 arpeggio

_0middot5 t

5-5 c I v v -+~-I~------5------50i------~-------50 v v t______~

~ ~--------------v_~77 T 7 v v _ ~

n

r

28

-l[ IvI ltllld tbM finger-rolling technique to three strings using this populiH A minor arpeggio hl pl

111

11 11

I he l II H~eggio swpes vou just phlyed A major net A minor ltHe two of the more popul1r shapes lIstd in conjunction with the sweep-picking technique Here is 1 diltlllic exercise in the key of C

llldjor thlt relics on thest tWll shapes exclusilk

---11-----shy

-ill

i1

(

I

fkr oue played through this exercise in C I1Hwe it around to nther keys as well

Three-String Arpeggio Shapes In lddition to the four-note trid shapes you just played sweep-picking shredders just lol to usc thnl-string trild shapes played on the top three strings of the guitM Here are those shapes arranged into 1 sep-picking exercise in the key of D

) Em (

r ~ -2-2

-5 -3 v

c

Ll ltgt C L

U IJ

Bill

NlXt ln going to toss you a cUfveball and add (1 second chord tone to the first string of the arpcgshygios you jllst played resulting in a seven-note sequence with alternate picking on the top string

Heres the Slme D major arpeggio exercise from before with tht extra note on tht first string Use the picking directions below the first two beats for the entire exercise

J) Em 1111 ( i

i1

29

Fret-Hand Technique I1lIl1LlP picking our fretting hlIld must mlke sure that only one tmw lt cl time is produced b rliLd1ll1g clnd damping the prliuLls note 1nd fretting the next ()Jll onl when it should sound This is 1 trjc technique with 1 lot of subtle timing but jf you stMt slowl md hll plticncl it will come lr(lund

fo prlctice this I11mc lets pplv it to 1 Bnldj7~Om7 swecping lick in fifth position on the top four

strings hrst lign our four fret-hand fingers Olr the frets but dont press them down vet

I3lginning with the pinkv finger 011 the fourth stringpress tach finger down t the time that note is supposed to bl heard clnd gently release it 1S the next note is plltlyed For the upsweep on the Om7 portion USl till same process only in reerse ordtr

LJIll7 Bi)lllaj7 Dill7

_0 0 _0 Q

middot6 middot61 middot7 middot7 _~ v v J

Ll 0 ~ ~ v shy v

~

1ltll1wl11lwr to llse 1 metronome when practicing your swecp-picking technique Ti)() many guitarists when sweep picking cleanly play the Oest mel highest notes of the phrast with il slightly muted scratch comprising 111 the Ilotes in the middlt using thc metronome helps to reinforce tht t 1(h

noll of tht lrplggio is (quail important cllld thus should be equally heard

Heres allother swcep-picking exercise with which you can practice frd-hand muting Continue thc pltl ttern up to fou rtelnth posi tion lI1d then wl)rk bl( k down the fretbolt1rd

t 0 ~ 0 u u v

I - 0 _C 7shy c middot3 7 1-5Ie u v v

PICK-HAND MUTING DVD Sweep picking is usually performed while using high-gain amp settings As a result extrashyv IDE 0 neous noise can be a real issue To help keep your phrases clearly articulated youll want to

use a little pick-hand palm muting This is relatively easy to accomplish simply let the side of your pick hands palm brush against the strings as you pick them With the high-gain settings typishycally used in the shred realm those slightly muted notes will still jump through the speakers

Int of commonly llstd ltlrpeggio shapes contain tvvo or more consecutive notes played at the S1I11t

frd on adjacent strings Nhen that happens its often necessarv to use the same fret-hand fingemiddotr CMeshy

tull fUlling tht tip off of one string so that the pd plays only the next olle (ilscending) without letshyting tht notes ring together And when the mOement is reersed--dcscending from a higher to a lower string on the same fret~you hcle to plan ahead playing the higher note with the finger pad so that

Otl can then roll your finger off of that note and cltch the lo-er on with your fingertip

Here is all A major Mpeggio that contains consecutie notes on the top two strings at the fifth fret Before you try that however practice the mOe on this basic two-string A5 arpeggio

_0middot5 t

5-5 c I v v -+~-I~------5------50i------~-------50 v v t______~

~ ~--------------v_~77 T 7 v v _ ~

n

r

28

-l[ IvI ltllld tbM finger-rolling technique to three strings using this populiH A minor arpeggio hl pl

111

11 11

I he l II H~eggio swpes vou just phlyed A major net A minor ltHe two of the more popul1r shapes lIstd in conjunction with the sweep-picking technique Here is 1 diltlllic exercise in the key of C

llldjor thlt relics on thest tWll shapes exclusilk

---11-----shy

-ill

i1

(

I

fkr oue played through this exercise in C I1Hwe it around to nther keys as well

Three-String Arpeggio Shapes In lddition to the four-note trid shapes you just played sweep-picking shredders just lol to usc thnl-string trild shapes played on the top three strings of the guitM Here are those shapes arranged into 1 sep-picking exercise in the key of D

) Em (

r ~ -2-2

-5 -3 v

c

Ll ltgt C L

U IJ

Bill

NlXt ln going to toss you a cUfveball and add (1 second chord tone to the first string of the arpcgshygios you jllst played resulting in a seven-note sequence with alternate picking on the top string

Heres the Slme D major arpeggio exercise from before with tht extra note on tht first string Use the picking directions below the first two beats for the entire exercise

J) Em 1111 ( i

i1

29

-l[ IvI ltllld tbM finger-rolling technique to three strings using this populiH A minor arpeggio hl pl

111

11 11

I he l II H~eggio swpes vou just phlyed A major net A minor ltHe two of the more popul1r shapes lIstd in conjunction with the sweep-picking technique Here is 1 diltlllic exercise in the key of C

llldjor thlt relics on thest tWll shapes exclusilk

---11-----shy

-ill

i1

(

I

fkr oue played through this exercise in C I1Hwe it around to nther keys as well

Three-String Arpeggio Shapes In lddition to the four-note trid shapes you just played sweep-picking shredders just lol to usc thnl-string trild shapes played on the top three strings of the guitM Here are those shapes arranged into 1 sep-picking exercise in the key of D

) Em (

r ~ -2-2

-5 -3 v

c

Ll ltgt C L

U IJ

Bill

NlXt ln going to toss you a cUfveball and add (1 second chord tone to the first string of the arpcgshygios you jllst played resulting in a seven-note sequence with alternate picking on the top string

Heres the Slme D major arpeggio exercise from before with tht extra note on tht first string Use the picking directions below the first two beats for the entire exercise

J) Em 1111 ( i

i1

29

Legato + Sweep = Economy lll lilh eli1 Ini in thlt Ihl llrci-l the nl1nn1lh efficient ClP picing pattern bClul1wS d

bit 11111jd Ill1 II IllJI ) tring 1(ll1tain h(l noilsT() cOllnhr thi problem mot planmiddotr- incllrporltc legltn tllllI1lqtll II ithin their Illping lick- ll tinw more than one 11(ltc )ppelr- on ginl1 tring rhi 1IlLl tlw hblC -gtleping direction pf the lick to go uninterrupted

Id- 1-1Ie ] IU(1 t that diatonic [) major arpqgio eXlrcie again this time using c1 pull-otf on the first tring to Illlilltlin till UPSllp liSt thl picking dircctions bencath the firt two bllt1 for the entire lclci-l Your pic hand ill h1e tu paue in rhythm for thl pull-off notl to uund before continushying wilh till Up-gtllP on the lcunci tring

11 I 1l1

-----9-11-middot--------shy--g

S(lI11l popul)r rplggio hlPl Cllntain two note on the lowlt string of the pattern for which you ()n lIl ] h)l1llller-pn wl1l1l )sclnding the (lrpeggio and a pull-off on the descent Each (rpeggio in thi-- IWt lcrci--e hicll ues the wleping and legato techniques with diatonic triad arpeggios in the kl III B minor e()ntclin~ two nolls on tlw fifth string

RlI1lltn bel Oll r pi~king hlIld h1S to pa llse fter the ini tial downstroke hi It your fret hand eXleu ttS till h11llIllCh11l 1-0 our first ((ond and third fret-hand fingers lise the wiling technique in both d i rlctitlll ] t llll1l puint in the lxcrcie Tlwe contribll tl to the (xtrcisl s considerabIe lcvcl of d iHishyl~lllt but thlrl pMt of tIll whole -llping decll

( i

[) Em--~

v v c

tl u

-B--~ v

-7-4 I

c

-7 U

J -10 -7-1-9shy 12 11

1 -9-10 11 U

~

OL

~ -14-10shy

i1

(i- -

Bill i-

- tlmpting ) it might be dont rllh the sweeps or let vour hands get out of sync If you really -vant to kHIl ho tn -llP pick properly elu( got to practice with a metronome keeping the exercisls ciLlll mel ICClIl)tC as you grlducllly build speed Aftcr a fcw months the results will be dovnright Il( 1111l

30

On tlll-l final tWll pages well take a look ilt some svveep-picking licks ns used by the shred masters

This first swccp-picking lick comcs courteSY of thc king of modern shred guitM Yngwic Malmstcell mel his brclkthrough instrumental Black Star Nhcn the solo changes kev from E minor to A minor Malmsteen lets rip with this two-ochwe A minor ltHpcggio

By Yngwle Malmsteen

111

I

11 11 shy

Anotillr clnssic iv1almsteen sweep-picking movc is the ascending diminished seventh clrpeggio lS heard in the intro to Far Beyond the Sun

By Yngwie rv1almsteen

gt

Though he doesnt use the technique often guitarist Steve Vai on occasion will seep through ltlrpegshygins more for a tvvist on his already twisted phrasing than for harmonic reinforcement For example in his ballad BltH Powder from the nH)]utionary instrumental album PIISiOlllllld WlIrtilrc hc puncshytuates ) whammy-manipulated oblique bend in A minor with an Am arpeggio follovved by Cmaj7 1I1d then ends the phrase with a high-octane descent down the A minor pentatonic scale

By Steve Val

(iff11

Em

~------~~~~-~-~~~-----------12i=iI---=--20-------iI-----------13-1-----15----15-+-----2117-------------11B --1-9~~=_~i~-~~middotmiddot~middot+I~+--1-2--1-5-1-4=14=~~=~t--~=--~=--~=--~=1~~1~1----~~----~~--------~~------_-_-_1~~~1~~~~----------~

l)

11- shy

31

Whln he first hit the shred scene with CKophony in the mid-SOs guitarist Marty Friedman set himshy-elf 1plrt from oHltr fret-burners vvith his affinity for exotic scales and sounds And when he joined llg1ddh thM indiiLil1llity found a much bigger audience In Hangar 18 from Megadeths Rust ill lIllle Frildmln tosses this sweep-picking gem into his first solo The big lesson to take lVltlY here is Friedrnlns sledd) sixteenth-note rhythm vhich contributes to the licks fluid sound

990 MUSTAINE MUSIC and THEORY All for MUSTAINE MUSIC Controlled and stered by

EMI BLACKWOOD MUSIC INC All Rights Reserved International Copyright Secured Usee by PermSSIQr

Words and Music by Dave Mustaine

nbDill

J i1- i1-1

fF

---17--13------1Iu6--113middot------1Iu6----16~~~~~-----20~-~middot-middotmiddot~middotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddot~20~~~==~20--171-~~~2~~~middot~~~~~ ------------15----------1155----------------------~v------~------------------r_L-----------~

-- I

()ur final sweep-picking example comes from the world of classical music Composer and iolinist Nicculo Paganini vvas in many ways the vvorlds first rock star He had long f]uwing hair a flamshyboyant stdge style and lt1 controversiallifestyle--including rumors of Satanic collusion And when YOll

consider the virtuosic nature of his pieces you could call Paganini the first shredder as well

The 2Jth Caprice is likely Paganinis most famous composition written in a theme and variation form The first variation arranged here for guitar as played by shredder Michael Fath is essentially a sVVlcp-picking exercise There are a few awkward position shifts necessary to pull this off so focus not only on 1 steady rhythm vithin the svveep-picked arpeggios but also on maintaining the pulse between them

By Niccolo Paganini -111 E Am ~ ~ ~

T 1pound v n n n I n -9

~

11 1 Ie n n -2- it -12 11

u

~

I i I n - - - i - - J i1 -

Dill (i c

~--17-12 middot10 13 15--1(12 12----10 n 12 -10 -9r12 -12

W

16shy1pound

14--r10

IIi1 11- V 11 v - - 11 shy

Am E A

~ ~

IU ~ n middot7 -10 n

u v 1

11 -12-7 7 n

u

1 i1 -- V i1 -- i1v

32

Book $395 DVD $600 = Pkg US $995 ISBNmiddot13 978middot1middot4234middot3309middot5 Parts not sold separately ISBN-10 1-4234-3309-2

11111111111111111111 111111111111111111111111111111 II~I~I~I~I~

On tlll-l final tWll pages well take a look ilt some svveep-picking licks ns used by the shred masters

This first swccp-picking lick comcs courteSY of thc king of modern shred guitM Yngwic Malmstcell mel his brclkthrough instrumental Black Star Nhcn the solo changes kev from E minor to A minor Malmsteen lets rip with this two-ochwe A minor ltHpcggio

By Yngwle Malmsteen

111

I

11 11 shy

Anotillr clnssic iv1almsteen sweep-picking movc is the ascending diminished seventh clrpeggio lS heard in the intro to Far Beyond the Sun

By Yngwie rv1almsteen

gt

Though he doesnt use the technique often guitarist Steve Vai on occasion will seep through ltlrpegshygins more for a tvvist on his already twisted phrasing than for harmonic reinforcement For example in his ballad BltH Powder from the nH)]utionary instrumental album PIISiOlllllld WlIrtilrc hc puncshytuates ) whammy-manipulated oblique bend in A minor with an Am arpeggio follovved by Cmaj7 1I1d then ends the phrase with a high-octane descent down the A minor pentatonic scale

By Steve Val

(iff11

Em

~------~~~~-~-~~~-----------12i=iI---=--20-------iI-----------13-1-----15----15-+-----2117-------------11B --1-9~~=_~i~-~~middotmiddot~middot+I~+--1-2--1-5-1-4=14=~~=~t--~=--~=--~=--~=1~~1~1----~~----~~--------~~------_-_-_1~~~1~~~~----------~

l)

11- shy

31

Whln he first hit the shred scene with CKophony in the mid-SOs guitarist Marty Friedman set himshy-elf 1plrt from oHltr fret-burners vvith his affinity for exotic scales and sounds And when he joined llg1ddh thM indiiLil1llity found a much bigger audience In Hangar 18 from Megadeths Rust ill lIllle Frildmln tosses this sweep-picking gem into his first solo The big lesson to take lVltlY here is Friedrnlns sledd) sixteenth-note rhythm vhich contributes to the licks fluid sound

990 MUSTAINE MUSIC and THEORY All for MUSTAINE MUSIC Controlled and stered by

EMI BLACKWOOD MUSIC INC All Rights Reserved International Copyright Secured Usee by PermSSIQr

Words and Music by Dave Mustaine

nbDill

J i1- i1-1

fF

---17--13------1Iu6--113middot------1Iu6----16~~~~~-----20~-~middot-middotmiddot~middotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddot~20~~~==~20--171-~~~2~~~middot~~~~~ ------------15----------1155----------------------~v------~------------------r_L-----------~

-- I

()ur final sweep-picking example comes from the world of classical music Composer and iolinist Nicculo Paganini vvas in many ways the vvorlds first rock star He had long f]uwing hair a flamshyboyant stdge style and lt1 controversiallifestyle--including rumors of Satanic collusion And when YOll

consider the virtuosic nature of his pieces you could call Paganini the first shredder as well

The 2Jth Caprice is likely Paganinis most famous composition written in a theme and variation form The first variation arranged here for guitar as played by shredder Michael Fath is essentially a sVVlcp-picking exercise There are a few awkward position shifts necessary to pull this off so focus not only on 1 steady rhythm vithin the svveep-picked arpeggios but also on maintaining the pulse between them

By Niccolo Paganini -111 E Am ~ ~ ~

T 1pound v n n n I n -9

~

11 1 Ie n n -2- it -12 11

u

~

I i I n - - - i - - J i1 -

Dill (i c

~--17-12 middot10 13 15--1(12 12----10 n 12 -10 -9r12 -12

W

16shy1pound

14--r10

IIi1 11- V 11 v - - 11 shy

Am E A

~ ~

IU ~ n middot7 -10 n

u v 1

11 -12-7 7 n

u

1 i1 -- V i1 -- i1v

32

Book $395 DVD $600 = Pkg US $995 ISBNmiddot13 978middot1middot4234middot3309middot5 Parts not sold separately ISBN-10 1-4234-3309-2

11111111111111111111 111111111111111111111111111111 II~I~I~I~I~

Whln he first hit the shred scene with CKophony in the mid-SOs guitarist Marty Friedman set himshy-elf 1plrt from oHltr fret-burners vvith his affinity for exotic scales and sounds And when he joined llg1ddh thM indiiLil1llity found a much bigger audience In Hangar 18 from Megadeths Rust ill lIllle Frildmln tosses this sweep-picking gem into his first solo The big lesson to take lVltlY here is Friedrnlns sledd) sixteenth-note rhythm vhich contributes to the licks fluid sound

990 MUSTAINE MUSIC and THEORY All for MUSTAINE MUSIC Controlled and stered by

EMI BLACKWOOD MUSIC INC All Rights Reserved International Copyright Secured Usee by PermSSIQr

Words and Music by Dave Mustaine

nbDill

J i1- i1-1

fF

---17--13------1Iu6--113middot------1Iu6----16~~~~~-----20~-~middot-middotmiddot~middotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddotmiddot~20~~~==~20--171-~~~2~~~middot~~~~~ ------------15----------1155----------------------~v------~------------------r_L-----------~

-- I

()ur final sweep-picking example comes from the world of classical music Composer and iolinist Nicculo Paganini vvas in many ways the vvorlds first rock star He had long f]uwing hair a flamshyboyant stdge style and lt1 controversiallifestyle--including rumors of Satanic collusion And when YOll

consider the virtuosic nature of his pieces you could call Paganini the first shredder as well

The 2Jth Caprice is likely Paganinis most famous composition written in a theme and variation form The first variation arranged here for guitar as played by shredder Michael Fath is essentially a sVVlcp-picking exercise There are a few awkward position shifts necessary to pull this off so focus not only on 1 steady rhythm vithin the svveep-picked arpeggios but also on maintaining the pulse between them

By Niccolo Paganini -111 E Am ~ ~ ~

T 1pound v n n n I n -9

~

11 1 Ie n n -2- it -12 11

u

~

I i I n - - - i - - J i1 -

Dill (i c

~--17-12 middot10 13 15--1(12 12----10 n 12 -10 -9r12 -12

W

16shy1pound

14--r10

IIi1 11- V 11 v - - 11 shy

Am E A

~ ~

IU ~ n middot7 -10 n

u v 1

11 -12-7 7 n

u

1 i1 -- V i1 -- i1v

32

Book $395 DVD $600 = Pkg US $995 ISBNmiddot13 978middot1middot4234middot3309middot5 Parts not sold separately ISBN-10 1-4234-3309-2

11111111111111111111 111111111111111111111111111111 II~I~I~I~I~

Book $395 DVD $600 = Pkg US $995 ISBNmiddot13 978middot1middot4234middot3309middot5 Parts not sold separately ISBN-10 1-4234-3309-2

11111111111111111111 111111111111111111111111111111 II~I~I~I~I~