
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.
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" (Official Video)
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 ›
- Cram Session: Thrash-Metal Rhythms - Premier Guitar ›
- How to Master Heavy Metal Rhythms - Premier Guitar ›
- 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 ›
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!