
Intermediate
Intermediate
- Learn how to build up the foundation of heavy metal rhythm guitar.
- Develop a deeper understanding of drop-D tuning.
- Create grinding riffs in the style of King’s X, Judas Priest, and more.
In our previous lesson, we explored at some of the must-know rhythm guitar techniques used in hard rock and heavy metal, including power chords, palm mutes, and accents. Now let’s delve a little deeper and learn more advanced skills of the masters such as pedal tones, tritones, and drop tunings.
What’s a Pedal Tone?
A pedal tone or pedal point is static note—usually in the bass register—against which higher notes and/or chords are sounded. Ex. 1 is reminiscent of a rhythm guitar lick favored by early metal pioneers like Ozzy Osbourne guitarist Randy Rhoads, or Glenn Tipton and K.K Downing of Judas Priest. It features two-note dyads (also called double-stops) articulated against a pedal tone on the open 5th string in a jagged syncopated rhythm. Palm mute the open string and articulate the chord stabs with a short aggressive picking-hand motion.
Ex. 1
Judas Priest - Live in San Bernardino 1983/05/29 [US Festival '83] [50fps]
Riffin’ With the Devil
Western music is based on a division of the octave into 12 equal half-steps, and on guitar a half-step is simply one fret’s distance. One of the most sinister-sounding intervals is the tritone, which is named because you have three whole-steps between the notes. In fact, it has often been called “The Devil’s Interval.” Guitarists like Black Sabbath’s Tony Iommi and Metallica’s James Hetfield have both used its jarring edge to great effect, often sounding a Bb5 power chord against an open 6th string pedal tone for maximum angst. Play through Ex. 2 to get a taste of the ominous-sounding tri-tone interval and remember to keep a slight palm-mute on the pedaled 6th string.
Ex. 2
Black Sabbath - "Iron Man" (1970)
16th-Note Shred Secrets
As metal progressed into the new millennium, it branched off into various subgenres, many of which relied on a fusillade of rapid-fire 16th-note riffs played at breakneck tempos. Mastering the metric methods of bands like Slipknot, Gojira, and Lamb of God may seem daunting. The trick is to realize that there are only a finite number of ways to subdivide a beat and, once learned, these individual one-beat stems can be strung together in different combinations to create more complex patterns. Ex. 3 shows four common 16th-note rhythms. Play the first using a steady alternate picking-hand motion. For the second, third, and fourth patterns, continue the alternate picking-hand motion but “ghost” the missing stroke by simply not hitting the string. It’s imperative that your picking-hand never stops an alternating motion. This will help you navigate complex rhythms with both speed and accuracy. Once mastered, the four stem-rhythms can be connected together consecutively to create driving single-note riffs like the one in Ex. 4.
Ex. 3
Ex. 4
Flirtin’ With Invertin’
The root-fifth power chord voicing is the most common form of harmonic currency in the metal kingdom. One cool-sounding derivative of this formula is to switch the positions of (aka “invert”) the root and the fifth by playing the root above the fifth. This grip can be sounded by simply barring across any fret on the two lowest strings or—for a fuller sound—adding those same two notes up an octave by also barring the D and G strings two frets higher. Check out the C#5/G# power chord in Ex. 5. Once learned, this grip can be tied in with 16th-note rhythms and a pedaled low E string as shown in Ex. 6.
Ex. 5
Ex. 6
Drop to the Top
One lasting sonic innovation that became ubiquitous in metal was when King’s X started to crank out incredible drop-D riffs. To be fair, other guitarists had experimented with this before, but it was King’s X who first worked out a harmonic vocabulary around the one-finger root-fifth-octave power chords that are easily facilitated by the drop tuning like the F5 shown in Ex. 7.
Ex. 7
Now power chords could be phrased with the same expression and fluidity as single notes. Ex. 8 ably demonstrates how a one-finger-barre voicing makes full-chord slides, hammer-ons, and pull-offs easy to facilitate.
Ex. 8
By the mid ’90s, myriad variations of lowered tunings had become extremely commonplace in the metal universe. Beginning guitarists are sometimes flummoxed by these alterations, but the overwhelming majority of the time they are just detuned versions of both standard and drop-D tunings, meaning everything you play in them will be fingered the same way, it will just be at a lower pitch. Some of the most common lowered tunings in metal are standard down a half-step, aka “Eb” (Eb–Ab–Db–Gb–Bb–Eb), standard down a whole-step, also called “D standard” (D–G–C–F–A–D) and drop-D down a whole-step (C–G–C–F–A–D), which is sometimes referred to as drop-C. If you’re a little hesitant about retuning your guitar, keep in mind that you’ve already learned to tune it to standard.
Learning to switch back and forth to a different tuning will be just as easy (if not easier) than when you first learned to tune. Try retuning your guitar to these then revisit some of the previous examples using the exact same fingerings, and see how the lower register affects the sound.
Octivate Your Device
Another cool intervallic device commonly used in hard rock and metal riffs is the octave shape shown in Ex. 9. It is most easily fingered by removing the middle note of a root-fifth-octave barre chord. You’ll want to use your first finger to fret a note on the fifth string while curving it to make enough contact with the fourth string that it mutes that string completely.
Ex. 9
Octaves are great for sliding melodically up and down the neck and—as demonstrated in Ex. 10—can be sounded in unison against pedal tones, or broken up into individual notes creating cool intervallic leaps. In the latter case remember to keep the octave hand shape constant.
Ex. 10
Now that you’ve got a basic handle of some of the most common rhythm guitar techniques you can listen to how they are employed by the great artists of the genre and use this as a jumping off point for your own songs!
- Lethal Metal: Anthrax's Scott Ian and Jon Donais - Premier Guitar ›
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- Municipal Waster—OG Metal for Party-Thrashers - Premier Guitar ›
- Mastodon and Gojira Announce 2023 Tour - Premier Guitar ›
- Slave to Sirens Discuss Metal in the Middle East - Premier Guitar ›
- How to Palm Mute - Premier Guitar ›
- Oni's Guitar Duo: Jared Dines & Eric Palmer Rig Rundown ›
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
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“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).