
A beginner's guide to nailing the basics of heavy metal.
Beginner
Beginner
- Understand the basics of heavy rhythm guitar.
- Learn to effectively palm mute.
- Create riffs in the style of Tony Iommi, AC/DC, and more.
When musical comedy duo Tenacious D proclaimed, "You can't kill the metal/the metal will live on," they were actually preaching some serious gospel truth. Since its genesis in the late '60s and early '70s, the genre known as heavy metal (along with its myriad offshoots and subgenres) has been one of the most consistently popular, enduring, and evolving. Because many beginner students start out by strumming cowboy chords on an acoustic steel-string, making the leap to playing metal seems as daunting as trading in a pedal tricycle for a Triumph Rocket 3. But by mastering a few basic picking-hand moves, anyone can tap into the visceral thrill and unmatched power at the heart of "The Metal"!
Progressions of Power
As amp manufacturers began incorporating more gain (aka overdrive or distortion) into their preamp stages, players altered their techniques to exploit this added sustain. Dialing up the gain meant adding overtones to your sound and this made full-voiced open chords indistinct and muddy.
A simple solution to this sonic dilemma was to pare down chords to just the root and 5. These "5" chords (also known as power chords) are harmonically ambiguous (lacking a 3 that would designate them as either major or minor) but sound thick and full when cranked through an overdriven amp.
Ex. 1 shows some power chord re-voicings of commonly played open shapes. I use a first-finger partial bar on the E5 and A5, and rest my first finger on the 5th string to mute it while grabbing the G5. The key here is to play less strings than you normally would, thus eliminating thirds completely.
Ex. 1
One common—but surprisingly unnamed—picking-hand technique employed when articulating power chords involves attacking the lower strings with a short, aggressive "slap" or "push" motion that originates from the wrist as opposed to a traditional strum which originates from the forearm.
Ex. 2 takes our chord shapes from the previous example but adds the element of syncopation by striking them on the off beat, or the "and" of beat 4. This rhythmic displacement of power chords was a distinct technique exploited by AC/DC's Malcom Young, one of the architects of heavy rock rhythm and it sounds undeniably cool against a solid backbeat.
Ex. 2
Hells Bells - Malcolm Young Isolated - Live at Donington
Another power chord pioneer, Black Sabbath's Tony Iommi, developed a style that relied heavily on the moveable two-finger power chord grips used in Ex. 3. This was largely done as compensation for an industrial accident that sliced off the tips of several fingers on Iommi's fretting hand, but ultimately gave Black Sabbath a distinct riff-based sound that would become the blueprint of most heavy metal styles. Among other things, this economic grip enabled legato movement between chords as evidenced by the slide on beat two of both measures.
Ex. 3
BLACK SABBATH - "War Pigs" (Live Video)
Palm Piloting
While playing power chords through a high-gain amp or stomp box provides epic sustain, to churn out driving percussive eighth-note rhythms it's essential to master the palm mute technique. The name palm mute is something of a misnomer since it's actually performed by resting the outside edge of the picking hand on the bridge just enough to make constant contact with the lowest strings and dampen them. Make sure that the bridge and not the strings are bearing the weight of your hand or the sound will be too choked off. Also remember to strike those low strings with a short aggressive wrist motion, as opposed to a traditional strum motion. I tell my students that strumming is a bit like using a paint roller to cover the walls while palm muting is akin to using a cut brush to paint the corners. It may take some trial and error to find the right equilibrium between contact and pressure with your fretting hand, but once you're in the sweet spot, try playing the palm muted power chord progression in Ex. 4.
Ex. 4
Stylistic nuance can be achieved with the palm mute by accenting certain beats. Very often the accented chord stabs can be enhanced by only playing single root notes on the unaccented articulations. In Ex. 5, the previous chord progression is now enlivened by adding an accent on the first beat of each measure [ONE and two and three and four and] and playing a single palm-muted root rote for the rest of the measure.
Ex. 5
Getting In Sync
Once you've mastered accented palm mutes, they can be strategically deployed to add rhythmic complexity and sophistication to progressions by syncopating certain beats. A common pattern shown in Ex. 6 takes a measure of eighth-notes and divides them in a 3+3+2 grouping with the accent coming on the first eighth-note of each sub-group [ONE-and-two-AND-three-and-FOUR-and].
Ex. 6
A two-bar variation shown in Ex. 7 divides the 16 eighth-notes in a 3+3+3+3+2+2 accent pattern [ONE-and-two-AND-three-and-FOUR-and one-AND-two-and-THREE-and-FOUR-and]. These two motifs are based on the Afro-Cuban clave beat and show up as the rhythmic underpinning in literally thousands of songs of all genres.
Ex. 7
Alternate Routes
We've been relying heavily on downstrokes so far, but basic fluency with alternate picking techniques is a must-have skill for playing rhythmic and melodic patterns with speed and accuracy. One of the challenges beginners seem to have with alternate picking is approaching strings on an upstroke. In Ex. 8 the fourth note of the pattern moves to an E on the 4th string and should be picked with an upstroke motion. Practice this minor scale move slowly, making sure to place all the alternate strokes correctly. Once you have it up to a reasonable speed, try playing it twice in one position then sliding it up one fret to the next position. Continue moving the drill all the way up the neck.
Ex. 8
This and all previous examples can be played with a metronome, but keep in mind that a metronome can't teach you rhythm. It can only refine your accuracy and help increase speed gradually. I strongly recommend learning to grasp each exercise slowly and correctly before dialing in Mach 5 metronome tempos. Accuracy leads to speed, but speed won't lead to accuracy and developing a strong accurate picking hand is essential to mastering heavy metal guitar.
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Ted’s parachute
If you want to escape from the pressures of modern life, go pick up your guitar. Now. You’ll be glad you did.
As I write this, we’re a few weeks away from the election, and I’m feeling as nervous as a cat in a dog park. No matter how you’re voting, there’s a good chance you feel the same way. These are complex times.
But we have a source of respite that many do not: We play guitar. Lately, I’ve made it a point to carve out an hour or so nightly to play through some of my band’s current repertoire to keep the dust off between shows and to explore some fresh sonic options to work into songs. The practice is paying off musically, but that’s not the biggest benefit. I’ve noticed, after I shut down my amps and pedalboard, and put my guitars back on their stands, that I feel better. About everything. For that hour or so, I am simply lost in the joys and mysteries of playing guitar. Things start to reveal themselves, new ideas tumble out of my fingers, and suddenly I’m in a place where anxiety can’t get to me and my mind is largely clear. It’s a safe zone where I’m not judging myself or others, and I’m relaxed and present. It’s a place where polling numbers and attack ads, family members with difficulties, and other concerns don’t even exist. And while it may be temporary, it is also beautiful.
I’m certain many of us have the same experience when we’re playing at home or onstage. And if you’re reading this while voices in your head are nattering with worry, I suggest you immediately go plug a guitar—the one that plays like melted butter—into your favorite amp and play a little melody, or your favorite set of chord changes, or even a nice campfire chord. I’d be surprised if you don’t soon feel the sensation of tension trickling out of your spine.
This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight. Under the weight of the world, it is often possible to temporarily forget guitar playing’s curative power, or be distracted from it, and that is why I am reminding you.
"This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight."
For me, and I’m sure this is not just my experience, music has always been a refuge—a special thing that makes my heart fill with peace, joy, and wonder. I recall watching Johnny Cash on TV as a child, listening to his spoken stories and the tales in his songs, and feeling like I was being swept through time and space, to places and eras full of exciting people and things. It stretched my imagination and worldview, and made it seem that life’s possibilities were endless. I still cherish that feeling, and listening to, for a couple examples, Tom Waits, Pink Floyd, Merle Haggard, Lucinda Williams, Son House, Kevin Gordon, Coltrane, and the Messthetics, still delivers it. And the next step, playing music and writing songs, makes me feel like an occupant of a small corner of their universe, and that’s a place I cherish.
I’ll mention safety again, and pardon me if this gets too personal. Many of us, after surviving the pandemic and the last decade of turmoil, do not feel safe. Having grown up in a household with a physically and verbally abusive father, where a blow could come at any time without reason or warning, that’s long been an issue for me. And when the news of the latest mass shooting, for example, is fresh in my brain, I tend to map out places to hide or flee when I’m at a concert or a mall or a large public gathering. Maybe that’s just my problem, but my gut—and what I hear from others—tells me it’s not.
Oddly, one of the places I can feel safest and happiest is onstage, whether performing solo or with my band, when everything is flowing and the music is in my veins. And that’s the magic of guitar and music again. It’s given me a place to be in the world that I love and that makes me feel complete. If you get that feeling from playing and listening to music, don’t let anything get in its way. Sometimes, in these times, that can be challenging, but the first step to your personal oasis is simple: just pick up that special guitar and plug in.
In this promotional photo of the Waikiki Trio, the standing guitarist is playing a Martin 0-42, and the seated guitarist is playing a Martin 0-18K.
Pacific Island pluckers had a hand in developing the beloved dreadnought acoustics, and changed the course of American guitar music.
In 1906, a devastating earthquake and three days of raging fires leveled 80 percent of San Francisco. Nine years later, to honor the opening of the Panama Canal and signal that San Francisco was back, the city held the Panama-Pacific International Exposition.
More than 18 million people visited. One of the most popular attractions was the Hawaiian Pavilion. Live music and hula dancing, integral parts of Hawaiian culture, were in the show, where they could be experienced on a large scale on the mainland for one of the first times.
That was the beginning of the Hawaiian music craze that had a good run in the U.S. until the Great Depression. Hawaiian musicians had already embraced the ukulele and steel-string guitar, originating the slide-based lap style (versus the typical, so-called Spanish-style playing orientation). Both instruments saw unprecedented demand on Hawaii and the mainland. The story of the ukulele is well-told, but in doing research for this article, I came across a funny comment that caught my eye: “It could be said that in the mid-1920s, Martin was a ukulele company that also made guitars!”
In early 1916, we made a large-body custom guitar for Hawaiian musician Major Kealakai. He ordered it through our largest distributor, Ditson. It was kind of a 0000-size, 12-fret, steel-string guitar with an extra-deep body. The Major and his band were touring the U.S. mainland, and he felt he needed a bigger, louder guitar.
Shortly after that, Ditson commissioned a new larger, pear-shaped steel-string guitar from us to capitalize on the growing interest in Hawaiian music. It was called the dreadnought. It had just 12 frets, a slotted headstock, and a sizable, resonant body. Initially, the dreadnought didn’t sell very well. We did find success, however, making many of our smaller-bodied guitars with steel strings set up for “Hawaiian-style” playing. These were often made with a koa-wood back and sides, and occasionally tops as well. Additionally, if players wanted to use our other guitars lap-style with a slide, Martin manufactured a nut extender to raise the strings far enough above the frets so they wouldn’t interfere.
“It could be said that in the mid-1920s, Martin was a ukulele company that also made guitars!”
While steel strings were available in the late 1800s, the quality was inconsistent. Thanks to the popularity of the banjo and the mandolin, steel-string quality improved. The steel string provided the extra volume many players were looking for.
During the Great Depression, Ditson suffered financial difficulties and was sold. We kept the dreadnought in the line and put the Martin name on it, but sales still remained low. In 1929, we made a one-off, 14-fret steel-string version of our 000-size guitar for a well-known vaudeville banjo player, Perry Bechtel. We squared off the shoulders to accommodate the 14-fret neck. He loved it—and we thought we were onto something.
Gibson also saw opportunity in larger-bodied guitars with steel strings and 14-fret necks. They introduced three new models in 1932: the HG-20, HG-22, and HG-24. The first two were slightly smaller than our dreadnought, and the third was slightly bigger. They realized the value of a 14-fret neck for modern playing styles with steel strings. But instead of squaring off the shoulders, they moved the bridge down and attached the neck to the slope-shouldered bodies.
Not only did those models have a traditional round soundhole, but they also had four f-holes and a sound baffle to try to compete with the newfangled resophonic guitars that were quite loud. But the Gibsons were not well received by consumers, and were eventually discontinued.
In 1934, we redesigned our dreadnought with square shoulders to accommodate a 14-fret neck. That same year, Gibson reintroduced the HG-24 body size with a single round soundhole—no more f-holes or sound baffle—and called it the Jumbo. The Martin Dreadnought and the Gibson J Series guitars are still wildly popular.
I do wonder if they would even exist today if Hawaiian music hadn’t entered the American-pop music sphere in the 1920s?
The tiniest TS on Earth has loads of practical upside and sounds that keep pace with esteemed overdrive company.
Solid Tube Screamer tones in a microscopic machine. Light and easy to affix to anything.
Small enough to lose easily! Vulnerable in the presence of heavy steppers?
$99
Olinthus Cicada
olinthus.com
The Olinthus Cicada’s Tube Screamer-on-a-postage-stamp concept is a captivating one. But contemplating the engineering impetus behind it begs questions: How much area does the pedal and mandatory/included TRRS breakout cable actually conserve? Where do you situate it in relation to other pedals so you can actually tap the bypass—which is the pedal enclosure itself! Would my neighbor’s cat eat it? As it turns out, there’s many good reasons for the Cicada to be.
For starters, small size and light weight on this order are a big deal. Flying with gear is stupid expensive. So, for players that don’t relish the antiseptic aspects of modeling, this micro-analog middle path could be a sensible one. Altogether, pedal and cable are about the size of a set of keys. You can stuff it all in a pocket, put clean laundry in your gig bag, and tour for a while, as long as the rain doesn’t soak your shoes.
All this assumes you roll with very small and very few additional effects. But if you can survive on overdrive alone, you can stick a little adhesive to the back—tape, Velcro, bubblegum, etc.—and affix the Cicada to almost anything. It sounds really good, too! A classic TS application—Fender combo and Stratocaster—yields soulful blues smoke. The same Fender amp and an SG means dynamite, raunchy, and rich Mick Taylorisms. It even does the Iommi stomp pretty well at high gain! I’m still not sure if the Cicada is a solution for a less-than-pressing engineering problem. Nevertheless, it opens up real practical possibilities and sounds more than legit in the process.
Featuring a slim Headlock system, water-resistant shell, and spacious front pocket. Available in classic Black and Ash, as well as new colors Moonlight Blue, Amazon Green, and Burnt Orange.
This brand new design reimagines and elevates the original to new heights, featuring a fresh range of colors and a refined slim Headlock system. The enhanced MONO Sleeve is engineered for durability, featuring industrial-grade webbing handles reinforced with steel rivets and bar-tack stitching, a water-resistant 420D shell, and plush interior lining. A spacious front pocket offers easy access to essentials like cables, tuners, and other gear, while the ergonomic shoulder straps ensure comfort during long-distance commutes. Sleek and compact, the MONO M80 Sleeve 2.0 is the perfect choice for guitarists on the go.
To bring the MONO M80 Sleeve 2.0 to life in the launch campaign, MONO collaborated with renowned guitarist Rock Choi from Seoul, South Korea, known for his bold and precise playing style, and Susannah Joffe, an emerging indie-pop musician from Austin, Texas, USA. Together, the artists showcase the M80 Sleeve 2.0 in a dynamic video set in New York City, demonstrating how effortlessly the case integrates into the urban lifestyle while offering superior protection for their instruments.
The updated Sleeve 2.0 is available in classic Black and Ash, and for the first time in MONO’s history, debuts a range of new colors: Moonlight Blue, Amazon Green, and Burnt Orange, giving artists fresh avenues to express themselves through their gear.
The MONO M80 Sleeve 2.0 features include:
- An ergonomically designed case that is sleek and suited for urban travel, along with comfortable shoulder straps and a tactile side handle for easy carrying.
- A water-resistant 420D shell and plush interior lining, built to military specs and extreme resistance to abrasion and the elements.
- A slim Headlock system, made from shock-absorbing EVA rubber, secures the guitar's neck and headstock, while the EVA insole protects the body and strap pin from impact.
- A spacious front pocket for essentials like laptops and cables, and a small interior mesh pocket for critical items.
- Side-release chest buckles provide added security and a construction reinforced with steel rivets for extra durability.
- Rock-solid, industrial webbing handles that are standard in MONO cases. Bar-tack stitching and steel rivets reinforce strength, while high-grade webbing offers a comfortable grip.
- String guard protection to safeguard your guitar’s strings.