
So how exactly does the undisputed king of neo-classical shred do his thing? It’s mostly a combination of magic, dragons, and some hellacious picking.
Advanced
Intermediate
• Create neo-classical licks using pedal points.
• Decode Yngwie's signature picking style.
• Learn how to use the harmonic minor and Phrygian dominant scales.
A household name in the guitar and metal community, Yngwie Malmsteen is known for his stunning technique, incredible vibrato, stage presence, love of Ferraris, and of course, popularizing the neo-classical shred side of hard rock and metal. I'm a big fan of Yngwie and am honored to bring you this lesson on his highly influential 1986 album, Trilogy. This was Yngwie's third solo album and featured some truly epic artwork of Yngwie fighting a three-headed dragon on a mountaintop with his Strat.
Trilogy features some of Yngwie's finest work and showcases many different sides and moods. For this lesson, I've prepared a piece of music to illustrate a few of the ideas and approaches Yngwie uses on the album. I'll break down the example into two main parts. Heads up: Yngwie often tunes his guitars down a half-step. For these examples, I kept everything in standard tuning. Let's unleash the fury.
A note on gear: For these tracks, I used my Eternal S-Type guitar that features single-coil pickups, 21 frets, and a rosewood neck—the closest in my collection to what Yngwie played on the record. The rhythm and lead tones are basically the same, except with more gain and ambience for the lead tone. I used Positive Grid's BIAS FX plug-in to create my tones, which are based on what I've researched about Yngwie's gear over the years.
Yngwie Malmsteen - Trilogy Suite Op: 5 Demo
Specifically, I used an emulation of a plexi head going into a 4x12 T-75 cabinet with the gain fully cranked. This virtual cab is miked up with an SM57-style mic placed halfway between the speaker's edge and cone. I also moved the mic back a little to let the tone bloom out of the speaker. In front of the amp I used a Boss DS-1-sytle distortion going into an emulation of an MXR Dyna Comp. For the added gain, I used a treble booster in front of the DS-1—this adds more percussiveness and bite to the single-coils. After the amp I used a subtle room reverb to recreate the classic woody tone from Yngwie's early recordings. For the lead part, I added a fairly substantial hall reverb and tape echo to impart serious ambience. I used the same setup for the rhythm part but removed the treble booster and echo. I kept the reverb but dialed it back for a little more definition.
One of the most important aspects of Yngwie's sound comes from his technique and hands. Though many guitarists associate Yngwie with strict alternate picking, this is not the case! To execute his seemingly effortless lines, he'll often combine legato technique with some other economy-based picking movements. In the lead guitar transcription for this lesson (Ex. 1), I've indicated how I mingled alternate picking with fretting-hand legato to produce the companion audio track. As Yngwie has shown us, this mix of techniques lets you create smooth runs that cascade, twist, and turn with virtuosic intensity.
Ex. 1
Most of this solo is loosely based around E Aeolian (E–F#–G–A–B–C–D). However, we change the key center slightly when the rhythm section implies a B7 tonality. (Simply changing the D to a D# gives us both a B7 arpeggio and an E harmonic minor scale.) This fits our dominant tonality like a glove and doesn't stray too far away from our original key. Now this all sounds very technical, but because these scales create the signature sound of Yngwie's neo-classical stylings, it's important to focus on such details.
This solo opens up with some classic three-string sweep-picking shapes that outline various inversions of an E minor (E–G–B) triad. I'm using some light palm-muting throughout and concentrating on making sure the notes sound as smooth as possible without losing attack and rhythmic clarity.
The previous sweep-picking flurry ends with a sustained note on the 5 (B) of our underlying E minor key center. The note is held, then attacked again with as wide and controlled a vibrato as possible before launching into one of our first pedal-point picking lines. This short phrase pedals off of E and starts by descending from the 6 of our scale (C) and finally landing on a D# on the 3rd string. This implies our harmonic minor tonality that's about to become B Phrygian dominant (B–C–D#–E–F#–G–A) in the next measure. I have deliberately chosen to use the 3rd string as I can get wider vibrato on that note with my third finger. It also sets me up for the next descending picking line.
By measure nine of the actual solo, we're starting to move back toward a Phrygian dominant sound through a series of descending triplets. The pattern shifts on the 1st and 3rd beat of each measure. When practicing this, be sure to use alternate picking and focus on the first downstroke of each group of six notes. This will help you nail the pattern and move smoothly through the position shifts at higher speeds.
The descending flurry of notes after the triplets is a fine example of Yngwie's signature picking technique. The mix of legato slurs and selectively picked notes gives the line a nice flow. The first quintuplet is based around a three-note-per-string pattern starting on the 11th fret. Pay close attention to the fingering and picking throughout this passage. Don't forget the wide vibrato!
Things slow down—somewhat—during this next section that's based around an eighth-note line. I added some palm muting here and created a sequence based around B Phrygian dominant. Be sure to "open up" on the palm muting to create that rising dynamic feel.
Another pedal-point lick pops up in measure 17 of the solo. This phrase is similar to the phrase in measures 7 and 8, except this time we move around a little more. To ensure the position shifts remain clean and precise at higher speeds, be sure to focus on the first note of each phrase. The solo starts to climax around measure 20 with some fast trills that move into a harmonized bending phrase that ascends on the 3rd string before hitting a bend on the 2nd string.
The ending phrase is similar to the one we tackled in measure 11. Here, we descend through an E harmonic minor scale before ripping out a two-octave E minor arpeggio.
The underlying rhythm guitar parts (Ex. 2) mostly consist of root notes of each chord (E5, B5) played as eighth-notes. Yngwie would sometimes insert scale-based flurries into his rhythm parts using diatonic notes. (Listen to Paul Gilbert's work in Racer X to appreciate how Yngwie has influenced this kind of riff writing.) Play these flurries of notes in the rhythm part with alternate picking to keep their articulation super-clear and tight with the bass guitar. As always, start slow and then build up speed once you're familiar with where your fingers have to go.
Ex. 2
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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!