Chops: Advanced Theory: Intermediate Lesson Overview: • Work through sweep arpeggios in the style of Jason Becker. • Add more chromatic notes to your improvised solos. • Make your riffs more compelling with unexpected rhythmic subdivisions.
Shrapnel Records introduced the world to some of the most virtuosic rock and metal guitarists to have ever plugged into a high-gain amp. Starting in the ’80s, an era that has subsequently become infamous for guitar gods, Shrapnel’s founder Mike Varney carefully selected the cream-of-the-crop players for his unique record label.
Some Shrapnel alumni are best known for sweep picking, others for insane alternate picking, and yet others for emphasizing legato fretwork. But all of them are known for playing a lot of notes in a very musical way. What made many of these players great, in my opinion, is that each took a unique approach to playing and writing within the fairly specific “shred” genre.
Want to acquire some tricks of their trade? Let’s take a look at key ideas and techniques used by several of Shrapnel’s heaviest hitters.
Most people associate Shrapnel guitarists with technical lead playing, but before we go there let’s first visit the often-overlooked art of playing rhythm. In my opinion, Paul Gilbert and Bruce Bouillet of Racer X were absolute masters of creating rhythmically exciting and unexpected metal riffs. These were often based on strong rhythmic hooks that included subdivisions and interwoven exchanges, and took surprising aural twists and turns.
Ex. 1 is a Racer X-style riff in A minor that illustrates the basic idea of taking one rhythmic pattern and throwing in surprise subdivisions. This riff’s main rhythmic pattern is based on three-note groupings of 16th-notes. In the first measure we encounter a new subdivision on beat 4. Hear how those 32nd-notes surprise the ear? It’s a great example of what Racer X was known for.
Another example of this effect is in the riff’s second fill. We have a 16th-note triplet run to wrap up the first repetition (starting on the “and” of beat 3 in measure 2), and again, the change in subdivision from the main 16th-note pattern creates an additional rhythmic twist.
Now that we’ve had a dose of rhythmic content, let’s shift over to the kind of lead playing that makes many listeners’ jaws drop. Because he introduced pop and R&B-inspired chord changes and funky rhythms to what was fundamentally a hard rock and metal label, Greg Howe is arguably one of the most distinctive Shrapnel artists. To make things even more interesting, he favored an innovative tapping technique and infused his playing with chromatics.
Inspired by the record Introspection, Ex. 2 is a Greg Howe-style lick over a series of dominant 7 chords. Hear how the chromatics are interwoven between E7 and B7 chord tones on the weak parts of the beat? This is a common jazz guitar technique, but it’s made very Howe-ish thanks to Greg’s grooves, feel, and note choices.
Next over A7 comes one of Greg’s most famous tapping techniques. This line also demonstrates his “hammer-on from nowhere” technique, which means that the hammer-on note isn’t approached by a previously picked note. Finally, we have another of Greg’s famous tapping techniques over the F#7. Here, we take three-note-per-string scales and instead of picking every note or playing full-on legato, use a hammer-hammer-tap pattern to cover the ascending phrase.
Another Shrapnel powerhouse is Tony MacAlpine, who is famously known for his blazing picking and his blend of classically inspired themes and contemporary instrumental music. Ex. 3 pays tribute to his approach to arpeggios.
The opening phrase is one of my favorite Tony-isms. We’re creating a major 7 arpeggio, in this case Dmaj7, by only using the lowest two strings. Keep in mind that there’s absolutely no picking here—it’s strictly legato and tapping. But the real interesting thing about this kind of line is the context in which Tony often uses it. Here, we’re in a Bm tonality, so we can use a D major arpeggio (Bm’s relative major) and still stay in the key.
We’ve explored a variety of tapping and arpeggio ideas, but haven’t yet encountered one of the most common staples of the Shrapnel guys: alternate picking licks! Many of the Shrapnel guitarists are well known for playing long, scalar runs in which they pick each note. If used wisely, this can be one of the simplest ways to enhance your playing, as these runs are mostly pattern-based and primarily built on the three-note-per-string scale fingerings.
A simple alternate-picked line in B minor, Ex. 4 starts with a six-note scale shape that’s copied across three octaves. You’ll find this fragment (the first three beats of the first measure) on many Shrapnel albums. Keep in mind that strict alternate picking is crucial for the accuracy and cleanliness of a lick like this, so be sure to practice it slowly.
Because these lines work so well in the three-note-per-string fingerings, they’re often conducive to some sort of triplet subdivision. The kicker with such licks is that they’re very pattern-based and can end up sounding too much like an exercise. Use them wisely and musically.
And last but not least, what would a column on Shrapnel be without a mention of the legendary Jason Becker? For dedicated shredders, his playing and spirit need no introduction, but if you need one, check out this trailer for the excellent documentary Not Dead Yet.
Ex. 5 is a workout in Becker-style sweep arpeggios. One point that was unique about Jason’s particular approach to sweep picking is that he extended certain arpeggio shapes further than other players did. In this example, all of the shapes extend down to include two notes on the 5th string. It’s fairly rare to see the Bm and E shapes extend down that far, but that’s part of Jason’s nuanced magic. The key to successfully playing sweep arpeggios lies in the picking pattern. It’s always a specific, non open-ended pattern that isn’t as simple as just constant downstrokes and upstrokes. A hammer-on or pull-off is included every time there’s two notes played on the same string.
Keep in mind that playing anything cleanly and accurately lies in practicing very slowly, in time with a metronome. These guys were all masters of fast playing, but I believe they were standouts because they used their chops in clever and musical ways, and that composition was their first priority. So when you’re sitting down with your metronome to blaze through these licks, just remember that music comes ahead of technique.
Racer X
This blazing live performance of Racer X’s “Scarified” from 1988 illustrates how Paul Gilbert and Bruce Bouillet varied the rhythms within their warp-speed riffs.
Greg Howe
Greg Howe improvises an incredible solo over his tune “Come and Get It.” Check out 0:45-0:48 for a great example of one of his signature tapping techniques.
Tony MacAlpine
Here’s Tony MacAlpine playing “Pyrokinesis” with an excellent view of his fretboard. Marco Minnemann plays the drums on this track and MacAlpine plays everything else. Look for his tapped arpeggios sequences and notice how he weaves them into both the melody and the solo.
Jason Becker
The legendary Jason Becker performs a dazzling mix of feisty, extended-range arpeggios in this clip from a guitar clinic in 1989.
The first thing most guitarists think of when they hear the phrase “hybrid picking” is undoubtedly twangy Telecasters. While that may be the most common use of hybrid picking, it is far from the only application. Diving into hybrid picking opens a whole new world of control, timbre possibilities, ideas, speed, and more.
As beginning guitarists start to move into the intermediate level, they typically build speed by practicing alternate or economy picking. It makes complete sense–especially to someone who’s new to the journey–that if you’re holding a pick, that’s what you should strike the strings with. I grew up learning how to play taking a slightly different route. Personally, I found it easier to be faster–and cleaner–to hybrid pick phrases, lines, and solos. It clicked with me and therefore was the technique I homed in on when growing from a beginner to an intermediate player. My alternate and economy techniques still aren’t as comfortable as hybrid picking, so here are some ideas from a guy that learned things from a bit of a different perspective. If you feel like your playing has plateaued, this might help you to keep climbing.
Small note: I use the pad of my fingers when hybrid picking and not the nail.
Step 1: Focus on the Small Differences
In Ex. 1 you’ll find what I consider to be one of the main benefits of getting comfortable with hybrid picking. I pick every note of the phrase on the first pass, but hybrid pick it on the second. On the second pass, the root note (open 4th string) is the only note the pick hits. I generally like to approach hybrid picking with an “each finger is assigned a string” method, meaning in this example the middle finger picks the note on the 3rd string and the ring finger picks the note on the 2nd string. Listening to the same two phrases played differently, you’ll note that there’s a tad more feel and nuance the second time through. These are subtle but can make all the difference in the world when it comes to creating, playing, recording, or performing parts. The combination of a mountain’s worth of small differences like this are what sets the pros apart!
Step 2: How to Play Chords with Hybrid Picking
Ex. 2 is how I love to use hybrid picking when comping. In this example the pick is handling everything on the 5th string while the middle finger picks the 4th string, the ring finger picks the 3rd string, and the pinky picks the 2nd string. Not only does hybrid picking this groove allow for a ton of control, it allows the pick to rhythmically separate from the rest of the fingers, creating a faux bassline. Again, using the middle, ring, and pinky fingers give a softer touch to the upper end of the chords, creating a more nuanced feel.
Step 3: Time to Go Low
Taking the idea of the pick handling the low end of the chords and giving the notes focus while the fingers contribute to clarity and softness on the upper end of the chords, we get Ex. 3. The pick only strikes the 6th string, while the middle finger picks the 3rd string, and the ring finger picks the 2nd string. This example of hybrid picking is widely used by guys like John Mayer and allows a player to have a ridiculous amount of control over what strings are being struck when playing something clean such as this.
Step 4: Let’s Get Sweeping
Applying this concept to lead playing, Ex. 4 replaces what would typically be an upward sweep with hybrid picking. The pick strikes the A note on the 7th fret of the 4th string. Then, the middle finger picks the C# on the 6th fret of the 3rd string, the ring finger picks the E note on the 5th fret of the 2nd string, and the pick strikes the F# on the 7th fret of the 2nd string. This is followed by a downward sweep of the same notes in reverse order. To end the lick, I pick the open 4th string. That’s when hybrid picking allows me to play a rolled Dmaj7 chord. These two embellishments are highly useful when both soloing and comping, and once again are a small touch that provides some “spice.”
Step 5: Enough with the Clean Stuff
Ex. 5 is a lick I use (I should probably say abuse) consistently. My sweep picking skills are abysmal. In part because I haven’t dedicated the appropriate time to practice them, but also partly because I tend to hybrid pick as a cheat or workaround. The lick is based on a G major arpeggio beginning at the 10th fret of the 5th string. I then pick the 4th string with my middle finger and the 3rd string with my ring finger. From there, I gather for a few notes with the pick on the 3rd string and repeat the pattern again across the fretboard. However, the second hybrid-picked part of the lick begins by striking the 9th fret of the 3rd string with the pick, then using my middle finger to pick the 8th fret of the 2nd string and my ring finger to pick the 7th fret of the 1st string. To end the arpeggio, I strike the 10th fret of the 1st string with the pick. The last bit of the phrase is a garden variety blues lick ending.
Hybrid picking is an extremely valuable tool that I think every guitar player should have in their arsenal. A player can have more control, feel, and timbral options compared to only using a plectrum, and it’s an easier way to add velocity with very minimal right-hand movement or tension. Try hybrid picking different grooves, licks, arpeggiated chord shapes, and even pieces of lead lines you already know to begin exploring how the technique can work for you.
Who could forget Alex Lifeson’s soul-stirring acceptance speech at the band’s 2013 induction to the Rock and Roll Hall of Fame:
Yes, Rush are a “progressive rock band,” with all the weighty importance that it brings, but at their core is a sense of humor that allows them to not take themselves too seriously. The result is that, while their music may be complex at times, overall, it lacks the pretense and self-importance that can permeate bands of the genre.
Along with with late drummer Neil Peart’s masterful drumming and Geddy Lee’s vocals and powerfully melodic bass lines, it is Lifeson’s striking versatility that has made Rush one of rock’s most unique and compelling musical triangles for over 40 years:
and more, Lifeson’s inspiring creativity and musical savvy quickly become apparent to listeners. Let’s journey through some of the Canadian trio’s most classic songs to see if we can figure out just what makes him tick.
Open Strings Are Our Friends
In the debut episode of Premier Guitar’sShred With Shifty, affable host and Foo Fighters guitarist Chris Shiflett, together with Lifeson himself, break down the latter’s solo from “Limelight,” off of 1981’s Moving Pictures. It kicks off with a clever use of a simple open B string, as shown in Ex. 1.
Ex. 1
As Lifeson explains, he doesn’t pick the harmonic. Instead, he lightly taps the ringing open string with a fret-hand finger at the indicated fret. (Lifeson uses his index; Shiflett, his middle.) Interestingly, the open B string wends its way through much of the song, including its trance-inducing chorus. Ex. 2 is inspired by this stirring section; note how the open B string acts as a hypnotic drone through all of the chords, a signature Lifeson move.
Ex. 2
You can take many open-position chord forms and experiment with moving them up the neck, while letting any open strings ring. Sure, you’ll inevitably hit some clunkers, but a good rule of thumb is, if the open string is in the key, you’ve got a good chance of finding some magic. Lifeson does just that in the intro to “La Villa Strangiato” from 1978’s epic, Hemispheres, as he positions a standard open G chord up at the 8th fret, creating a unique Cadd2 voicing.
Ex. 3 is along the same lines; note how there are two open strings, D and G, that, when added to this very basic chord form, revitalize it to swirling effect.
Ex. 3
As in the “Limelight” solo, Lifeson cleverly weaves the open B string into his “YYZ” solo, Moving Pictures’ bombastic instrumental. Here, though, he employs it as a pedal point, a re-articulated or sustained note generally played below (or sometimes above) an accompanying melodic figure. Ex. 4 closes out his sinewy solo in grand fashion.
Ex. 4
Only the very first note is picked; the rest are sounded by a series of hammer-ons and pull-offs, which require some fret-hand strength to execute. A great exercise is to take the same figure and move it to other open strings, which is also a fun way to learn your scales horizontally across the neck. Throughout his solo, Lifeson employs B Phrygian dominant mode (B–C–D#–E–F#–G–A), which is simply the 5th mode of E harmonic minor (E–F#–G–A–B–C–D#). Fear not, all this means is that it’s the very same E harmonic minor scale, but here, B acts as the root or tonal center instead of E. Examples 5 and 6 apply this scale to the 1st and 3rd strings, respectively.
Ex. 5
Ex. 6
Familiar Chords in Unfamiliar Places
Just as how Lifeson uses open-position chord shapes up the neck with open strings, he also is adept at taking closed triad shapes (no open strings) and cleverly moving them in similar fashion. His solo in “Subdivisions,” from 1982’s Signals, rises to a climactic end this way, as shown in Ex. 7.
Ex. 7
This familiar “D” shape is one of three triad shapes found on each of the guitar’s sets of three strings. In other words, the same three notes (we’re excluding the open 4th string from the previous example) can be rearranged to find two other inversions along the neck. Let’s use them to play the same “Subdivisions” chord progression, but in different registers of the neck, as in Examples8 and 9. Note in bar 2 of each how the new shapes lend themselves to different melodic choices and thus, new chord colors.
Ex. 8
Ex. 9
Navigating Odd Spaces
The previous examples contain some interesting rhythms, something for which Rush is well-known, which includes the use of odd time signatures. Ex. 10 is reminiscent of a chordal interlude in “Jacob’s Ladder” from 1980’s Permanent Waves. Rush is a band that is exceptional at using odd time signatures in a most musical way, and here, they shrewdly shift from 5/4 to 6/4.
Ex. 10
To become more comfortable navigating these tricky time signatures, count either out loud or in your head while listening to the section. Doing so familiarizes you with how these time signatures feel, which eliminates the need for counting.
Lifeson always sounds effortless when soloing in odd time signatures. A key way to accomplish this is to always be aware of where beat 1 is, so, for the moment, a bit more counting. But this time, do it while actually playing, as this will have you feeling at ease sooner than you might think. Lifeson’s solo in Moving Pictures’ “Red Barchetta” is in 7/4; note that an easy way to count your way through 7/4 is to break it down into 4/4 plus 3/4. Ex. 11 illustrates how he deftly negotiates one of the solo’s two-bar phrases in a memorably melodic way.
Ex. 11
The above is just a taste of the palette of colors from which Lifeson draws, as he weaves his guitars throughout Rush’s timeless catalog of songs. He, along with Lee and Peart, created unique and genuinely emotional music, none of which could ever be described as “blah.”
Glen Campbell’s sound is inspiring on many levels—in addition to his distinctive voice, his nuanced and virtuosic guitar playing allowed him to interpret some of the most iconic songs of his era. Among them, the songs of Jimmy Webb stand out immediately. Classic pieces such as “By the Time I Get to Phoenix” and “Wichita Lineman” are instantly recognizable for their vivid storytelling and unforgettable melodies. It’s interesting to note that Webb composed on piano, utilizing the instrument’s vast harmonic capabilities to craft structures less conventional than the typical radio single.
In the hands of Campbell, his guitar playing truly shines as much in his comping as in his famous soloing during live performances. I composed my piece, “Jed’s Theme,” based on a character in a novel written by my sister, Christina Rauh Fishburne, with Webb and Campbell’s influence very much at the center. It can be heard on my album with Cameron Mizell, Local Folklore (Destiny Records).
Note: I play this piece with hybrid picking (pick/middle/ring), but it can also be played fingerstyle if that’s more comfortable.
Ex. 1 (Measures 1–8)
The beginning of the tune establishes a simple melody line over a harmonic bed that utilizes inversions and substitutions for color. An element of Campbell’s accompaniment style that I love is his ability to sculpt emotion to support the melody. In an instrumental context like this, using a Gm as a passing thought in measure 2 is a way to emote harmonically while only briefly straying from the key of D major. The decision to use F# in the bass of the tonic D chord also provides a chromatic line as we move through D/F#, Gsus4, Gm, D/F#, and G6. These nuanced voicing movements help to create an atmosphere for the melody beyond the typical options. The rocking back and forth of the bass notes also provides a momentum to move up to the V–IIIm–IV cadence that ends with a first position line over Gmaj. Adding such lines in an instrumental tune can be a fun way to insert “guitar” back into the melody. By this I mean that until then, think of the melody as a voice. The melody sings its entrance and comes to a pause, leaving space for the guitar to respond before moving on.
Ex. 2 (Measures 9–16)
Here, we find ourselves back in the “voice” melody but now E/G# is introduced as a harmonic shift to bring light into the melodic narrative before closing out the phrase by resolving to a Dmaj walk up. At the start of the song, the melody hangs on the G6 chord before extending tension over the V and IIIm chords and settling on the IV chord before beginning its next statement. This time, we bring the melody to a secondary dominant with the V of V (E/G#) before finally resolving to the I chord. This is a mechanism often found in the Webb/Campbell songs that allows a melody to remain consistent while simultaneously offering emotional development.
Ex. 3 (Measures 17–23)
We begin here with a higher melodic line voiced over the V chord before descending out of the key briefly to Fmaj7–Fmaj9–Cadd9. Following this, another “guitar” line enters to lead us back into D major by closing out the phrase on A7, further utilizing harmonic movements under the melody to introduce new emotive colors and support the melody.
Ex. 4 (Measures 9–13, coda ending)
To bring the song to an end, we take the D.S. al Coda and introduce a final harmonic shift with the G/Ab beginning the coda and ending on the unresolved Gm. These choices are both ways in which a song can be brought to a closing that feels open-ended, which is different than incomplete. Rooted in the key of D major, the song remains mostly grounded in the tonality with various harmonic divergences to accent the melody. By ending the song on the Gm, or the IVm, we may insinuate that a story is still being told after the song is finished. This is a mechanism often used to accentuate unresolved tension in vocalized lyrics and can have the same effect with instrumental music when thoughtfully placed.
Ex. 5
For Ex. 5, we’ll play the complete piece, keeping in mind that it’s important to hear the melody lyrically, and the harmony as emotional color in support of it.
I recently published my book Creative Rhythms for Melodic Instruments or Think Like a Drummer, and I’m delighted to say it has been met with great enthusiasm by players and educators. The premise is simple: Take some of the most iconic drummers—from all genres—and use “in-the-style-of” drum fills as source material for melodic phrases, all in a variety of scale and arpeggio patterns, as well as multiple keys.
In addition to the notation, I also released audio examples in a call-and-response manner, allowing musicians to play along with the melodic phrases, with the isolated drums, or respond to the phrases with their own ideas. (Note: The audio for the book features drums and piano, as the book is available in several versions: guitar tab, bass tab, treble clef, bass clef, Bb instruments, and Eb instruments. Nevertheless, for this lesson I have specifically recorded electric guitar.) I also want to point out that the examples in this lesson are not duplicates from the book, but rather, as the book encourages, creative variations.
Icons of the Drum Kit
As I wrote in my book’s introduction, there are countless phenomenal drummers absent from my examples. I can name at least two dozen more drummers I wish were included (in fact … I’m working on Vol. 2). So let’s not nitpick as to who’s the best drummer, let’s just start playing: In the style of …
Ex. 1
Ringo Starr
It is unnecessary to rehash how underrated Ringo is. Instead, listen to the third verse of “Hello, Goodbye,” “A Day in the Life,” or any of the Live at the BBC recordings. Ringo has style! Ex. 1 is a Ringo-style fill, with lots of space (drummers, it’s okay to rest), and features both descending D Dorian and C major scales. (Remember, D Dorian is just C major starting on D.) Emphasize those rests, people!
Ex. 2
Bill Ward (Black Sabbath)
Of all the drummers in my book, I think Bill Ward’s fills are the most recognizable. Bill has distinct flair and an overlooked swing feel. To honor Black Sabbath in general, Ex. 2 features E minor pentatonic and E harmonic minor, played in descending groups of three. That’s down three notes, back one, and down three from there. Groups of three is a rather cliché move, still, when you add a unique rhythm—as demonstrated here—the pattern takes on new life.
Ex. 3
Neil Peart
What more needs to be written about Peart? Or Rush in general? Nothing. Legends. The end. Ex. 3 is based on one of Peart’s most iconic fills (you’ll guess it.) and uses A Phrygian dominant, in two octaves, in homage to Alex Lifeson’s solo on “YYZ.”
Ex. 4
Richard Bailey
Bailey is arguably the least well-known drummer in my book, but I guarantee, if you love guitar music, you know his playing. Bailey is the drummer on Jeff Beck’s Blow by Blow (and many other albums and singles). Ex. 4 is the first to showcase arpeggios, in this instance, F#7 to Emaj7, implying an F# Mixolydian sound, from the home key of B, emphasizing the V chord. Think “Freeway Jam.” One thing that makes these rhythms unique are the ties from the “and” of 1 to the 2, as well as the tie from the “a” of 2 to the 3. This is tricky!
Ex. 5
Stewart Copeland
One of my favorite things about Copeland is that he rarely played the same thing two nights in a row. I highly recommend listening to live recordings from the 1979–1980 Reggatta de Blanc tour, particularly the breakdown section (after the guitar solo) of “So Lonely.” Consistently brilliant and incomparable. They might have been the best band in the world on that tour. Ex. 5 provides us with a Copeland-esque fill (note that grace note on beat 4) and a C#m pentatonic lick with bends and pull-offs, à la “Message in a Bottle.” If you’ve never paid attention to Andy Summers’ fills in that song, do so. He’s more B.B. King than “King of Pain” on that one.
Ex. 6
Chester Thompson
It’s difficult to know who Thompson is most famous for playing with, Weather Report, Santana, Genesis, or, for my money, Frank Zappa. Thompson’s tenure with Zappa allowed him to truly experiment with rhythm. Listen to “Approximate” on You Can’t Do That on Stage Anymore, Vol. 2 The Helsinki Concert. Ex. 6, in keeping with Zappa’s penchant for two-chord jams, demonstrates more arpeggios, F7 to Gm7, in the home key of Bb major. In this one-measure phrase, we have eighth-notes, dotted-eighths, 16th-notes, and 32nd-notes. This should test your rhythmic abilities.
The final two examples feature drummers who are not in my book, so I’m happy to share them here: John Bonham (of Led Zeppelin) and Carlton Barrett (of Bob Marley and the Wailers).
Ex. 7
John Bonham
No, I’m not highlightingBonhamkick drum triplets. Rather, Ex. 7 features a Bonham snare/floor tom/kick drum combination. And the phrase I created also pays homage to his bandmate Jimmy Page, with an A blues riff, modulating to C blues (name that tune!) that includes more guitaristic phrasing.
Carlton Barrett
While Bob Marley might be the face of reggae, Carlton Barrett, along with his brother, Aston, on bass, may be the defining sound of reggae, as the brother duo played on countless Marley recordings and live performances. While Ex. 8 does not include a “one drop” (look it up, or just listen to “One Drop” by the Wailers), it is still quintessential Barrett. The melodic phrase is built with ascending arpeggios, Dmaj7 and Gmaj7, the I to IV chords, in two different patterns and positions.
Infinite Rhythmic Combinations
Besides the fact that I enjoy playing the examples myself, one of the reasons I wrote my book is because I believe rhythm is the most important feature in music, and yet it is underutilized. While these examples demonstrate quite a bit of variety, the fact of the matter is, rhythmic combinations are infinite. I encourage you to studiously experiment with uncommon phrasing. Intuition is great, but eventually, in my experience, it becomes unconsciously repetitive. So sit down and really work on distinctive rhythmic phrases. I promise you, you will never run out of new ones.