What do you get when you combine three fiercely unique metalheads with a love for down-tuned guitars, crushing rhythms, and a passion for odd-meter time signatures?
Chops: Advanced
Theory: Intermediate
Lesson Overview:
• Develop a better sense of composition by layering guitar parts.
• Understand how to imply harmony by adding notes to power chords.
• Learn how to incorporate jazz sounds into your shred solos. Click here to download a printable PDF of this lesson's notation.
Formed in 2005 by guitarist Misha Mansoor, Periphery started life as a vehicle to perform Mansoor’s material. Influenced by such bands as Meshuggah and Sikth, Mansoor initially gained notoriety on the internet metal scene working under the moniker Bulb. He’s now one of the most influential and important progressive metal guitarists this side of the millennium, and one of the main faces of the “djent” movement.
Periphery has always been a three-guitar band, and since 2011 the lineup has consisted of Mansoor, Jake Bowen, and Mark Holcomb. With five years under their belt as an ensemble, the musicians now function more like a band rather than one member’s solo project with hired guns. As the band evolved musically, each member brought increasingly diverse influences to the table, and this has helped Periphery develop a unique, identifiable sound. They’ve released five full-length studio albums, and although 2016’s Periphery III: Select Difficulty is a fine offering, I’d suggest anyone new to the band start with 2015’s double concept album, Juggernaut: Alpha and Juggernaut: Omega.
One of the biggest hurdles in learning to play like Periphery is getting the band’s sound. The group uses a huge array of tunings across 6-, 7-, and 8-string guitars. For the sake of consistency, I’ve opted to record all the examples in C–G–C–F–A–D, which is dropped-D tuning, but down a whole-step. While these could all be played in dropped D, one of the big features of Periphery’s sound is the low tuning. On a 6-string, Mansoor often tunes the lowest string down to A; he keeps his 7-strings tuned to G# and 8-strings in F#. I’ve recorded everything in the lesson using Toontrack’s EZmix plug-in with some of Misha’s own presets. These have been EQ’d a little bit and enhanced with a little more noise gate in places—an important part of the sound. You need plenty of midrange crunch and an almost unnatural gate effect where your chain is silent between chord stabs. For this lesson, I’ve composed a handful of examples that demonstrate how Mansoor, Bowen, and Holcomb integrate their parts.
Ex. 1 is a triplet-based idea fitting loosely around a Locrian sound, though in concept it’s really about playing in C minor and adding notes that contrast it, like the Db and Gb. To play this cleanly, pick the notes on the 6th string, then use your third fretting-hand finger to sound the notes on the 4th string without picking them. This is often called a “hammer-on from nowhere.”
The final aspect of this riff that’s common in Periphery’s writing style is the use of tapping. Because you don’t want to interrupt the flow of the pick, use your picking hand’s middle finger to tap the notes.
Click here for Ex. 1
In our next group of examples, we’ll begin to delve into how the three guitarists use some rather extreme dissonance. In Ex. 2, you can see a short triplet-based lick that combines traditional tapping with some hammer-ons from nowhere. Ideas like this will feel alien at first—it’s all about synchronization and building speed over time.
Click here for Ex. 2
It’s hard to rationalize the notes in Ex. 2 from the standpoint of music theory. While one might argue similarities to the diminished scale, in essence this is really about channeling some unusual Holdsworth-inspired sounds. (Allan Holdsworth was another of Mansoor influences.) Ex. 3 repeats the basic pattern down a half-step, while Ex. 4 is down a whole-step.
Click here for Ex. 3
Click here for Ex. 4
Now, let’s up them all together. Take a listen below.
Our next piece features two guitar parts. The first (Ex. 5) is a low-string riffer that features some pre-bends and string skipping. Periphery is fond of such riffs because they sound extremely heavy. The secret is making sure everyone in the band is in tune and releases the bends consistently. The band isn’t afraid to use unconventional techniques like this, or even slap-guitar technique. I’m using hybrid picking to pluck the notes on the 4th string.
Click here for Ex. 5
The second guitar part (Ex. 6) uses a jarring minor second interval that rings out. This is then moved up and down the neck to create something that’s between a melody and a fit of anxiety!
Click here for Ex. 6
Now, here’s the sound of Ex. 5 and Ex. 6 together.
Ex. 7 introduces a simple time signature change that shifts between 3/4 and 4/4. The riff begins with a grace-note bend on beat 1. Notice how the motif is displaced by a single 16th-note on beat 2 before heading into the measure of 4/4. The more you listen to Periphery, the more you’ll discover examples of complex rhythms that take several measures to resolve, which is a classic trait in Meshuggah’s music.
After the riff is played twice, it’s followed by a scalar passage that includes a slide and moves across strings to allow the notes to ring out. This juxtaposition of crushingly low riffs and crisp, ringing melodic ideas are another aspect of the band’s signature sound.
Click here for Ex. 7
Our next riff (Ex. 8) is inspired by Periphery’s 8-string tunes and again features a blend of heavy riffs and single-note melodies. The key part here is the chord voicings played at the end of the first measure and at the start of the second. These four-note voicings are just power chords, but rather than playing just the root, 5 and root an octave higher, another 5 is added on the 3rd string. When played with a heavy palm mute, these are the classic “djent” chords.
Click here for Ex. 8
The final example comprises four guitar parts: one rhythm, two layered clean parts, and one lead guitar. What I find interesting in parts like these is that it demonstrates a clear appreciation of chord changes and how to outline them with melodies. The band often abandons conventional major scale harmony, as the changes are predictable. In Ex. 9, you can hear an Eb5 power chord played for two measures before we add a Gb (b3) into the mix.
Click here for Ex. 9
The first clean guitar part (Ex. 10) holds a major chord shape (in this case, Eb major) and picks it with an intriguing rhythm before switching to a minor voicing with a major 7.
Click here for Ex. 10
Our second clean part (Ex. 11) has a slightly different rhythm, and uses open strings for a distinctive timbre.
Click here for Ex. 11
The final part (Ex. 12) showcases an almost jazz-like approach, using the Eb major scale (Eb–F–G–Ab–Bb–C–D) over the first two measures before shifting to the jazzier Eb melodic minor scale (Eb–F–Gb–Ab–Bb–C–D) over the final two measures. This makes perfect sense since the first clean guitar part hints at the minor/major 7 sound.
Click here for Ex. 12
We break down how prog rock’s most influential 6-stringer combines timeless riffs, a huge sound, and a penchant for experimentation.
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Learn how to combine open strings into barre chords to create more intricate sounds.
• Understand how to phrase riffs in odd-time signatures.
• Create phrases that move between shifting rhythmic figures.
Click here to download a printable PDF of this lesson's notation.
One of the enduring titans of progressive rock, Rush formed in Canada in 1968 and has managed to stay true to its progressive roots while maintaining crossover appeal for almost 50 years. With its shifting time signatures, extended structures, fantasy-inspired lyrics, and Geddy Lee’s trademark high-pitched vocals, the band’s music is technical and challenging. Yet somehow the trio’s songs continue to be a staple of endless rom-coms, and with over 25 million sales in the U.S. alone, Rush knows how to deliver what the fans want to hear.
Alex Lifeson has been a solid backbone for the trio since day one. By dragging hard rock and blues through a progressive blender, Lifeson has created numerous iconic riffs over the years. His style is always evolving too, as he explores new ways to add excitement to his playing.
After five decades, you’d be right to expect some variation in Lifeson’s gear. Today you might see him playing a Floyd Rose-equipped Les Paul, but he’s never been one for limiting himself and always picks the right guitar for the job. He recorded many of Rush’s most iconic tracks on a Strat, and he has flirted with companies like PRS (who still offer a signature acoustic). But Lifeson’s sound ultimately revolves around a humbucker-equipped guitar and lots of volume.
When it comes to effects, things get tricky. Check out PG’s 2011 Rig Rundown to see first-hand what Lifeson used on the Time Machine tour. It’s an extremely complex setup, but as a foundation you’re going to want some sort of delay, phaser, flanger, and chorus. Also, a pitch shifter might come in handy, or even a doubling device to add a faux-acoustic color to clean parts. For the latter, Lifeson relies on a piezo pickup. He has been using Hughes & Kettner amps for a long time, but as with his pedals, he has developed an intricate setup that involves switching between six different amps.
In terms of style, I think of Lifeson as more of a riff master than a soloist, so I’ve focused on that side of his playing, although I’ve included some lead ideas at the end of the lesson.
Ex. 1 throws you into the odd-time zone, taking Morse code and turning it into a rhythm that you can play over two repeating measures of 5/4. I’m not thinking about scales here, just the notes C and D, along with their respective lowered fifths—which are also called tritone intervals. Tritones are one of the darker sounds used in rock.
Click here for Ex. 1
The next riff (Ex. 2) uses one of Lifeson’s trademark chords, often referred to by players like John Petrucci as the Hemispheres chord, after Rush’s 1978 album.Essentially, it’s a garden-variety F# barre chord, but to make things sound more interesting Lifeson leaves the top two strings open. This transforms it into an F#7add11 chord. You’ll also note I’ve been pretty liberal with phaser and flanger on this. Don’t be afraid to make something simple more exciting with some effects—they’re there to add color.
Click here for Ex. 2
Ex. 3 takes this idea further by playing simple major barre shapes while leaving the top two strings open. Here’s a tip: Although I’m only picking the top four strings, I’m actually moving barre shapes that are rooted on the 6th string. A barre chord at the 7th fret becomes a Badd11, and a barre chord at the 5th fret adds an open B to the A chord, giving you and Aadd9. Playing this same idea on an F yields a really spicy Fmaj7#11 sound.
When listening to Lifeson teach, it’s apparent that he’s not a theory guy; he can’t name these chords, but he knows where they came from, and how he likes to use them. This is a good thing—it’s okay to just explore and find things you enjoy playing.
Click here for Ex. 3
To expand on this idea of using open strings, let’s try it with different chord voicings. Ex. 4 features an E power chord at the 7th fret, then a B major barre chord with open strings, then an E/G# with open strings, and finally an A barre chord with the open strings. These open strings are a great way to create intriguing harmony while filling out the sound … which is crucial when there are only three people in your band!
Click here for Ex. 4
Ex. 5 is a heavy riff inspired by some of Lifeson’s more rocking moments. Here we pedal on an open low E while playing notes of the E natural minor scale, aka the E Aeolian mode (E–F#–G–A–B–C–D).
After playing this riff twice, I’ve expanded on the idea by revisiting the same basic theme, but using power chords with open strings for a bigger sound. This is another great way to develop a phrase.
Click here for Ex. 5
Our final riff (Ex. 6) uses a combination of 4/4, 5/4, and 2/4. This wasn’t planned in advance; I was just looking for how and where it felt natural and exciting to change. As with previous examples, it’s possible to name the chords, and that’s a great academic exercise, but in reality, this comes second. There’s no need to work out the “correct” notes to play, just hunt for the ones that sound good to you.
Click here for Ex. 6
When it comes to Lifeson’s lead style, his contribution to the instrument doesn’t have as much impact as his incredible rhythm work. But that’s not to say there’s nothing cool here. In essence, Lifeson is a blues-rock player when he solos, and as such, you’ll hear a lot of minor pentatonics, blues scales, and minor scales. He’s very fond of fast alternate picking, but this isn’t approached in the same way you might hear it from players like John Petrucci or Al Di Meola. It’s almost like he’s tremolo picking and trying to keep the left hand as in sync as possible.
Some people might look down on that, but it’s a definite effect that’s very hard to replicate because it’s unique to the player. It actually results in a very cool sound, and there’s no denying the compelling nature of Lifeson’s solos. When you take something wild and untamed like his lead playing and try and put it in a box to practice, you end up with something more clinical—which no longer sounds like Lifeson!
Ex. 7 shows how Lifeson might mix 16th-notes and 8th-note triplets. This shift in rhythms creates a feel of changing gears. It’s hard to do automatically, as it requires a good understanding of how to subdivide the beat. Playing 16th-notes on their own presents little challenge, which is also true of triplets, but shifting between the two can be tricky.
Click here for Ex. 7
The final example (Ex. 8) uses legato with open strings, as well as some fast alternate picking on the 1st and 2nd strings. As before, this is really a case of putting the foot on the gas and hoping for the best. The goal is to sound rough around the edges, if it’s too clean ... you’ll not sound like Lifeson anymore. I find the moves in measure 1 tricky, and prefer to execute them with a pull-off, which Lifeson does too, from time to time.
Click here for Ex. 8
Once you break the shackles of diatonic harmony, you open the doors to a new world of sounds based on the simple major triad.
One of the most compelling aspects of playing progressive rock is how the genre encourages you to turn simple concepts into something new. Nowhere is this more evident than with simple major triads, a sound you’ll hear used again and again in nearly every type of rock music.
A perfect example of someone who uses triads extensively is the great Steve Morse. He has worked in many enduring bands, including the Dixie Dregs, Kansas, and Deep Purple, as well as the prog supergroup Flying Colors. If you aren’t familiar with Steve’s work, check out “The Introduction” below to see what he’s all about.
Let’s get some basic terms and definitions out of the way. The first thing to know is that a triad is a three-note chord that most often consists of the root, 3, and 5 of a given key. Imagine you are in the key of E major (E–F#–G#–A–B–C#–D#). Take the first, third, and fifth notes of the major scale (E, G#, and B, respectively) and you have a major triad. It doesn’t matter what order, or inversion, the notes are in, the resulting triad will have the same function.
Theory: Intermediate
Lesson Overview:
• Learn how to imply modal sounds with simple major triads.
• Create riffs in the style of Steve Morse, John Petrucci, and Eddie Van Halen.
• Understand how to effectively use modal interchange. Click here to download a printable PDF of this lesson's notation.
In Ex. 1, you can see the notes of an E triad played up the neck in inversions against an E bass note. If you look closely, you’ll see each chord stab contains only the notes E, G#, and B.
Click here for Ex. 1
It’s possible to extract more triads from an E major scale, by simply starting on any other note. For example, if you start on F#, then take a note a third higher (A), and a note a fifth higher (C#), you’ll have an F#m triad. This concept goes a bit beyond what we’ll focus on in this lesson, but being aware of basic major-scale harmony is an essential skill.
While it’s possible to use all these triads, to keep this lesson simple, I’ll stick to major triads. This is far from limiting—in fact, you’ll find that 90 percent of rock bands using these concepts also just stick to good-old major triads!
The following examples (Ex. 2 and Ex. 3) combine E, A, and B major triads over an E bass note to create more of a riff. This has a classic E major sound because it uses all the notes of the major scale.
Click here for Ex. 2
Click here for Ex. 3
One of the quickest ways to take these triads and turn them into something, well, more prog, is by using modal interchange. You can think of this as “borrowing” chords from other keys to imply a modal sound. In our previous examples, we’ve stuck entirely to the notes that are diatonic to the key of E. What would happen if we looked at chords in the key of A?
There are also three major triads in the key of A—A, D, and E. Two of these triads also occur in the key of E, but D does not. When viewed from the perspective of an E bass note, this outlier implies an E Mixolydian (E–F#–G#–A–B–C#–D) sound. In Ex. 4, you can hear this in action.
Click here for Ex. 4
When comparing E major and E Mixolydian, the D triad is characteristically Mixolydian, as its root (D) isn’t found in the E major scale. So when writing riffs in E major, if I include a D major triad, that’s borrowing a chord from the E Mixolydian mode. The rule to remember: When you play a major triad a whole-step below the root, it yields a Mixolydian sound. Ex. 5 offers a taste of this.
Click here for Ex. 5
It’s also possible to experiment with major triads from other modes to see how they work against specific bass notes. For example, the E Aeolian mode (E–F#–G–A–B–C–D) contains the same notes as G major (G–A–B–C–D E–F#). In Ex. 6, I’m using G, D, and C major triads from the key of G major to imply an Aeolian sound against the E bass note.
Click here for Ex. 6
Ex. 7 is a Van Halen-sounding riff that incorporates triads from both E Aeolian (C, D, and G) and E Mixolydian (D, E, and A). Combining triads this way is a huge part of Eddie’s style, and can be heard on many of his most famous riffs, including “Panama” and “Jump.”
Click here for Ex. 7
Our final example (Ex. 8) is inspired by John Petrucci. This uses all the triads we’ve covered so far, and adds an F major triad (borrowed from E Phrygian, E–F–G–A–B–C–D)—and even an Eb major triad. The latter makes a tangy half-step passing chord into D.
Click here for Ex. 8
You can do a lot with this concept, and there’s really no right or wrong way to pursue it. The key is to experiment and find sounds you like. So, get playing and see how progressive you can get … good luck!