The legendary Elvis sideman was a pioneer of rockabilly guitar, and his approach to merging blues and country influenced generations of guitar pickers. Here’s how he did it.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Craft simple blues-based phrases that lie within the CAGED system.
• Understand how double-stops are used in rockabilly music.
• Improve your Travis picking.
Click here to download a printable PDF of this lesson's notation.
In 2016 we lost one of the most influential guitarists and unsung heroes the world has ever known. The driving force behind Elvis Presley’s first recordings, Winfield Scott “Scotty” Moore III helped shape the sound of rock ’n’ roll and inspire generations of fans. Born in 1931, Scotty caught his big break in 1954 when he was called to do a session with Elvis at Sam Phillip’s Sun Studio in Memphis. History was made that day when Elvis recorded “That’s All Right,” and for about four years, Scotty provided 6-string magic for such Elvis hits as “Heartbreak Hotel,” “Hound Dog,” and “Jailhouse Rock.”
A huge Chet Atkins fan, Scotty grew up listening to country and jazz. This blend would have a dramatic impact on his sound, as he would mix Travis picking with some ear-twisting note choices based on chords, rather than using an obvious scalar approach.
I used a thumbpick on the examples in this lesson to sound as authentic as possible. Using a thumbpick on some notes makes them stand out in comparison to those plucked with the remaining fingertips. Ex. 1 is a classic Scotty-type rhythm riff in E that uses some Travis picking. Play the notes on the 6th and 4th strings with your thumb, and use your index and middle fingers for the double-stops on the 3rd and 2nd strings. This is illustrated in the notation: Attack all the up-stemmed notes with your fingers and down-stemmed notes with your thumb.
Click here for Ex. 1
The next example (Ex. 2) reveals one of the more common elements of Scotty’s lead work: double-stops. It makes sense when you consider that Scotty often performed with just a bass player and drummer, so when it came time to play a solo, he needed to create a strong sense of harmony. The first three phrases begin in the “E” shape of the CAGED system before moving down to the “A” shape and returning to the “E” shape. Those last two measures sit squarely in the “E” shape at the 12th position.
Click here for Ex. 2
Ex. 3 returns to Scotty’s Travis-picking influence by outlining an A chord before leading the idea in a new direction with double-stops. The example begins in the “C” shape and resolves in the “E” shape, though this wouldn’t have meant anything to the legendary guitarist. However, his reliance on moving the five basic chord shapes around the neck is undeniable.
In this version of “Hound Dog”—a song originally recorded by Big Mama Thornton—Moore takes a bluesy solo starting at :45.
Click here for Ex. 3
The blues was an essential part of Scotty’s style, and Ex. 4 shows something he might play over the first eight measures of a blues in E. To use the moves in any given key, it’s important to understand how intervals work within a chord. For example, over the E7, I’m approaching the root and 3 (G#) with a half-step slide. With that information, you’re able to transpose this musical shape all over the neck. Approach each double-stop with this method, and you’ll get a lot of mileage out of this rather simple lick.
Click here for Ex. 4
Ex. 5 shows some of Scotty’s single-note ideas, though the phrase still begins with a double-stop on the top two strings to grab the listener’s attention. Measures three and four use a strange collection of notes. Scotty isn’t thinking of a scale here. The phrase begins with a bluesy flourish and a melodic descent to the root. When he gets there, he moves down a half-step to the 7 (an unusual note to play on a dominant chord, but if it sounds good, it is good), and then up again to resolve to the A chord.
Click here for Ex. 5
Scotty was also a big fan of using three-note grips. In Ex. 6, you can see how these ear-grabbing sounds would work over our blues progression. It begins with an E triad in the “D” shape. It’s genuinely amazing how many great chordal licks Scotty could come up with by using just a few chord forms.
Click here for Ex. 6
Ex. 7 is a little trickier, but a great example of how to move from an A chord to an E chord using some double-stops and single notes along with position shifts and sixths. This is very much a country phrase and evidence of the genre’s importance to the rockabilly sound.
Click here for Ex. 7
The final example (Ex. 8) is a longer, 20-measure piece outlining a full progression with Scotty's superb Travis-picking ideas. While this isn’t a column specifically on Travis picking with a collection of exercises to develop that skill, here are a couple of simple tips that should help you navigate this music.
First, focus only on the bass notes. The thumb needs to be automatic. Strive to put no thought into playing the bass part. This takes time but eventually you’ll be free to concentrate on the melody. The last part to absorb is the excellent ending chord. It’s a maj6/9 with the root on top—very common in the rockabilly style.
Click here for Ex. 8
From here it’s easy to hear Scotty’s immense influence on guitardom. It would be well worth your time to go down a rabbit hole of YouTube vids from the CAAS (Chet Atkins Appreciation Society) conference. Nearly every player from that scene owes a debt to Mr. Moore.
One of modern rock’s most buzzed-about shredders shares his insights on an often-misunderstood topic.
Theory: Intermediate
Lesson Overview:
• Develop proper sweep-picking technique.
• Learn how to move across two, three, and four strings.
• Create diatonic shapes that move up and down the entire fretboard.
Click here to download a printable PDF of this lesson's notation.
This lesson is about my bittersweet relationship with sweep picking. To be honest, sweep picking has always scared the ever-living crap out of me (and it still does). For whatever reason, it has taken years for me to find any use for it. It’s only recently I’ve found myself applying the technique here and there, kind of like a loose light bulb flickering on and off.
Well, I finally put on my big-boy pants and started tackling it, or rather, it started tackling me.
When you adopt a new technique, it all comes down to context: where you learned it, how you learned it, and the application. For me, the neo-classical art of sweep picking, although pivotal in its contribution to rock and metal music, has never been quite enough to get me off my feet. I never really found a use for that super-rapid sweeping motion for my sound or phrasing. It just didn’t stick in my ear. But arpeggios are essential in writing and playing, and now—who knows why—sweep picking has become an itch I need to scratch.
So I devised a way to make use of those same good ol’ 5-string patterns and sweep them in a way that compliments my sound. In the space allotted for this lesson, I can’t get into too much depth with every way I’ve found to use sweep picking, but I can show you how it all started. You are getting the very first preview ever of my growth as a soon-to-be-sweep-picking fiend … but from what I believe to be a more modern take on this technique.
Let’s begin.
First, I’ll give those of you who may be unfamiliar with sweep picking the lay of the land. Basically, you want to play each note of the arpeggio as cleanly as possible by pushing the pick through each string. If you do this at a fast-enough pace, either ascending or descending, you generate a nice sweeping motion.
Ex. 1 is a simple D major (D–F#–A) arpeggio that rotates through a triplet rhythm at a medium tempo. Use this warmup exercise to get a feel for the sound and structure of this picking approach. As you play through this example, notice how each note occurs on a new string until the pattern turns around on the 1st string. This is what allows you to push across strings 5, 4, 3, and 2 using one continuous downstroke or upstroke.
Click here for Ex. 1
In Ex. 2, we move to the F#m triad (F#–A–C#), which is still diatonic to the key of D major. This shape stretches out your hand a bit more—especially on the top strings—so focus on being as relaxed as possible to prevent your muscles from becoming strained.
Click here for Ex. 2
Now we’ll move to the diminished triad, which for our purposes will be G#dim (G#–B–D). This might feel odd at first, but will serve us well in our upcoming examples.
Click here for Ex. 3
In this next section (Ex. 4, Ex. 5, Ex. 6), we’ll divide up the same three arpeggios and practice them using subdivisions to increase speed. We’ll start out playing quarter-notes, quarter-note triplets, eighth-notes, eighth-note triplets, 16th-notes, and then reverse the order.
Click here for Ex. 4
Click here for Ex. 5
Click here for Ex. 6
This next part is how it all began for me. I needed a way to play these arpeggio shapes up and down the neck in a way that adheres to my sense of legato. Here, I lay out how to move through the neck diatonically over three strings (Ex. 7), four strings (Ex. 8), and five strings (Ex. 9). Using diatonic or functional harmony is super-important for songwriting and can be equally useful in practicing technique.
The idea here is to connect the arpeggios together one after another. In my opinion, this creates more of a continuous legato sound when sweeping, as opposed to the rapid neo-classical sound.
Click here for Ex. 7
Click here for Ex. 8
Click here for Ex. 9
Now let’s sweep through a pair of triads using inversions. In Ex. 10, we’re moving between a D major triad (D–F#–A) and an E major triad (E–G#–B), both in 1st inversion. An inversion is simply the same notes in a different order, and in this example, each shape has the 3 (F# for D major and G# for E major) in the bass.
Click here for Ex. 10
Naturally, we’ll move to the 2nd inversion of these triads for Ex. 11.
Click here for Ex. 11
Our final opus (Ex. 12) takes us through all inversions of the D and E major chords across five strings up and down the fretboard. It’s a heck of a workout.
Click here for Ex. 12
That’s all folks. Thanks for stopping by. Go shred some heads!
Carlos Delgado [CC BY-SA 3.0], from Wikimedia Commons
Progressive metal’s most influential guitarist combines immaculate picking technique with aggressive tones to create the most technically demanding licks around.
Chops: Advanced
Theory: Advanced
Lesson Overview:
• Gain a deeper understanding of complex, shifting time signatures.
• Learn fast-paced, alternate-picked riffs.
• Create phrases that use legato, sweeping, tapping, and alternate picking. Click here to download a printable PDF of this lesson's notation.
Formed in 1985 at Boston's Berklee College of Music by drummer Mike Portnoy, bassist John Myung, and guitarist John Petrucci, Dream Theater continues to be one of the titans of progressive rock and metal. While the group would consist of this basic trio at the core until Portnoy left in 2008, over the years they've had a handful of keyboard players and several vocalists. (Current keyboardist Jordan Rudess has been in the band since 1999, and singer James LaBrie has been in the fold since the band's second album, released in 1991.)
There's no disputing that Dream Theater is the quintessential prog band for fans of proficient instrumental skills and metal. For over 30 years, Petrucci's trademark style has influenced generations of players through the group's 13 full-length studio albums. The band's sound has evolved a lot over the years, from the softer rock albums like Falling into Infinity, to the classic prog-rock of Images and Words, grand concept albums like Octavarium, and heavy metal shred-fests like Train of Thought. Each one is underpinned by Petrucci's astonishing technique. He's developed into an absolute master of picking, legato phrases, sweeping, tapping, and more.
In regard to his tone, any nice humbucker-equipped guitar through a modern high-gain amp will do the trick. However, if you'd like to be a little more authentic, Petrucci has signature guitars, amps, and pedals from Ernie Ball Music Man, Mesa/Boogie, and TC Electronic, respectively.
Because the examples in this lesson are going to get pretty hard, I thought it would make sense to start with a simple-ish riff that sticks to 4/4. Petrucci likes to flesh out his voicings beyond the basic power chords heard in most metal, and with his thick distortion, certain intervals create a lot of dissonance.
In Ex. 1, beginning around the E5 chord, there's a rich cluster added on the high strings that contains both E and F#. These notes are a whole-step apart and create a pleasing tension. The final measure features a rich Csus2 chord, as the 2 works a lot better with distortion than the 3. This allows you to let the chord ring out as you arpeggiate it.
Click here for Ex. 1
Ex. 2moves between 5/4 and 9/8 time. If you're new to time signature changes, I covered them in detail in my Obsessive Progressive lesson “Get a Grip on Odd-Time Signatures."
In my mind, I'm counting: 1 + 2 + 3 + 4 + 5 + | 1 + 2 + 3 + 4 + 5 |
This yields a measure with five full beats, and then a bar where the fifth beat has been cut in half. It's possible to count to nine, but since the number seven contains two syllables, it can be easier to count both measures as “five" and throw out the extra count. If you're going to count to nine, you want to count one, two, three, four, five, six, sev, eight, nine.
Click here for Ex. 2
Ex. 3is conceptually similar to the previous idea. There's a measure of 4/4, which could be thought of as a full measure, and then a measure that's just short of being full. This creates a jarring sensation—like the music trips.
I've written this as a measure of 4/4, then a measure of 7/8, but you'll often see the same idea written as 15/8.
Click here for Ex. 3
The next example (Ex. 4) changes time signatures every measure and moves between 4/4, 7/8, and 3/4. This is a pretty tricky example, so spend time to really come to grips with the counting before learning the part. Rather than attempting to maintain a strict count when tackling a passage like this, try to internalize it—so you can feelthe line as you play it—especially as the note choice doesn't conform to any key or scale.
Click here for Ex. 4
Ex. 5is as rhythmically complex as it's likely to get, shifting between four different 16th-note-based time signatures. The secret here is breaking down each bar into smaller groupings and counting those (an idea that's integral to mastery of the Indian Konnakol system). I've grouped the notation with this counting in mind, so it's easier to see.
Measure one consists of a group of three (an eighth-note followed by a 16th-note), which is repeated, before playing a group of four, then a group of three to end. This gives us the following pattern:
1 2 3 | 1 2 3 | 1 2 3 4 | 1 2 3 |
See if you can break down each of the remaining measures with this method.
Click here for Ex. 5
The final three examplesshowcase Petrucci's technical prowess in soloing, beginning with his formidable legato chops. Ex. 6 moves from the 2nd fret up to the 15th rather quickly. In essence, you repeat an eighth-note motif played within the three-note-per-string patterns before shifting up to the next shape (using the first finger) to repeat. To get this one down at speed, you'll need to be confident of your three-note-per-string patterns, which in this case are in the key of G.
Click here for Ex. 6
The next idea (Ex. 7) is a tricky lick combining sweep picking, tapping, and a tough stretch on the fretting hand. Taken from the E Lydian mode (E–F#–G#–A#–B–C#–D#), the idea requires you to stretch between the 12th and 18th frets, with a gap between each finger. This applies to both the sweeping arpeggios and the legato moves on the top string.
Another interesting part of this lick is the “glitch" in the sweep, where you repeat the note as you change direction. At speed, these create a cool sound. (Note: They're also a big part of Tosin Abasi's style.) It also makes the lick a little easier, as you never have to skip over a string.
The final bit of advice here is to sweep with the pick over the fretboard as you're going to need to come in and tap at the 19th and 21st frets. Keeping your picking hand hovering over the pickups will make this extremely tricky.
Click here for Ex. 7
The final example (Ex. 8) takes cues from Petrucci's unison and harmony runs with keyboardist Jordan Rudess. These are common in Dream Theater's music with “In the Presence of Enemies Pt. 1," “This Dying Soul," and “In the Name of God" being great examples.
There's no hiding from the fact that this example requires some astonishingly accurate alternate-picking skills. Petrucci's picking is known for being near perfect. Combine that with the tight harmony with Rudess, and you can see how any picking fluctuations will completely ruin the overall effect. In this example, I added a keyboard a third away from the guitar line. Naturally, you'll want to take this lick extremely slowly and build up speed over time.