
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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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.
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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).