Intermediate
Beginner
•Wrap your fingers around Mustaine’s unorthodox “spider chords.”
•Keep your rhythm playing interesting with syncopation and odd time signatures.
•Make your solos more interesting with variations on a theme.
Flanked by some of metal’s finest guitarists, Megadeth’s leader more than holds his own.
Upon being unceremoniously fired from Metallica in 1983, right on the cusp of their climb to worldwide success, Dave Mustaine channeled his righteous indignation into the formation of his own band, Megadeth, which he hoped would “destroy” his former band and new archenemy. While that may not have come to pass, his own band would rise to the heights of metal stardom, later joining Metallica as one of the “big four” metal bands, along with Slayer and Anthrax. The two bands may have mended fences, but over the course of his 40-plus years fronting Megadeth, Mustaine’s trademark vocal snarl and menacing guitar riffery have not abated, even as he was battling personal challenges like addiction and throat cancer, not to mention arm and neck injuries that looked to threaten his ability to play guitar. Over the years, top-tier metal guitarists have occupied the band’s second guitar chair, such as Marty Friedman, Kiko Loureiro, and its current occupant, Teemu Mäntysaari, all to much well-deserved acclaim. But today, we’ll be taking an arguably overdue, in-depth look at what makes Mustaine a great player in his own right.
Spider Chords
Mustaine considers himself to be a more proficient rhythm player than lead, so that’s where we’ll begin. (We’ll be looking at some of his excellent lead work a bit later.) As a songwriter, he found himself encountering, on multiple occasions, a specific chord change which proved to be technically challenging: a 5th-string-root power chord (root and fifth) immediately followed by a 6th-string-root power chord one fret higher, E5 to C5, for example. Fretting both chords with first and third fingers would prove to be awkward at the blazing-fast tempos at which he would often write. So, in order to create more fluidity and economy of movement, Mustaine’s eureka moment was to fret the 6th-string-root chord with his second and fourth fingers.
Ex. 1 is an exercise to help you get acquainted with this unorthodox technique. Begin by concentrating on the first measure. Repeat it at a slow tempo to get the movement under your fingers. When ready, add the remaining two measures, which will up the challenge, taking you down the neck twice as fast.
Here’s Mustaine himself demonstrating his signature move.
One song in which he employs this technique is “Wake Up Dead,” from Megadeth’s 1986 classic Peace Sells... but Who’s Buying? Ex.2 is based on one of the song’s riffs, and shows a nifty way to move down the fretboard. Be sure to lift the palm mute when indicated, to end with an even more sinister flourish.
Chromatic Ups and Downs
In the above examples, you’ll find plenty of chromaticism, the inclusion of non-diatonic (out-of-key) notes or chords linking those that are diatonic, resulting in multiple half-step (one-fret) shifts. Mustaine employs this quite a bit, and Ex. 3 is inspired by “A Tout le Monde” from 1990’s Rust in Peace. Even though the example is the key of F# minor (F#–G#–A–B–C#–D–E), take note of the “in between” chords, Bb5, C5, and G5 in measures one and two, and D#5 in measure four. Adding chromaticism to chord progressions allows you to quickly step outside the key and back again, adding a bit of spice.
Time Is on Your Side
Another aspect of Mustaine’s songwriting that he excels at is playing complex rhythms (while simultaneously singing, no less). There are two main ways in which he accomplishes this. First, he often uses syncopation, where off-beats are emphasized.
Ex. 4 is inspired by “The Conjuring” from Peace Sells… In measure two, the accented chords are all on the off-beats, which energetically propels the riff forward. The chords are offset by bass notes punctuated with palm muting, a classic feature of metal rhythm playing Mustaine often relies upon.
Mustaine’s rhythm talents aren’t limited to chords alone. He also writes malevolent single-note riffs, made more treacherous by his use of another rhythmic device: odd time signatures. This section of 7/8 from “Architecture of Aggression” from 1992’s Countdown to Extinction is a great example.
Ex. 5 is inspired by this song, and is also in 7/8 time. It looks a bit odd, so let’s find an easy way to digest this quirky time signature. Another way of looking at 4/4 time is as if it’s 8/8, or eight eighth-notes to the bar. Consequently, 7/8 time is simply 4/4 minus one eighth-note. In the example, you can see how, if this was a bar of 4/4, that there would be an eighth-note missing. As you play the riff slowly, count up to seven as you play each eighth-note. The bar will feel cut off at first, but that’s its magic, and as you repeat it, you’ll begin to feel it groove.
Soloing With the Best of ’Em
Mustaine takes his fair share of Megadeth solos and often creates a searing intensity by introducing a motif, or theme, then repeating it while adding variations as he goes. His solo in this live version of “Burnt Ice” from 2007’s United Abominations is great example.
In the solo, he adds some bluesy playing in between the variations, but Ex. 6 cuts and pastes each one so they’re played consecutively. It’s a heck of a workout, and notice how the final variation has the phrase crossing over the bar line, with the accent markings indicating where each six-note phrase begins. The main takeaway here is how Mustaine often creates variations on a theme in order to keep his solos interesting. Try coming up with your own simple theme, then gradually add some variations, changing things up when you feel yourself getting bored.
“Five Magics” from Rust in Peace demonstrates how Mustaine often continues to think like a songwriter when composing his solos, leading them to be cohesive and memorable.
Ex. 7 is based on the hypnotic introduction to his solo. The key at this fast tempo is to keep your picking steady, while being sure to lift your fret-hand finger off of the string quickly enough to allow the subsequent open string to be sounded. For smoothness, use your second finger to fret each note.
Let’s go full circle for the final glimpse into Mustaine’s lead work, by exploring his use of chromaticism in soloing. While he does sometimes take a phrase and repeat it, moving up or down the neck one fret at a time, chromaticism here refers to the use of non-diatonic notes in general. Ex. 8 captures the phrase he plays to bust out of the gate for his solo in “Chosen Ones” from 1985’s Killing Is My Business... and Business Is Good! While the song is in B minor, Mustaine doesn’t simply draw from the B minor scale (B–C#–D–E–F#–G–A). To create more of a bold statement, he borrows notes from other modes. For example, the first five-note grouping features notes from the B Phrygian Dominant mode (B–C–D#–E–F#–G–A), namely B, C, D# and A. B Phrygian Dominant is the 5th mode of the E harmonic minor scale (E–F#–G–A–B–C–D#), but put more simply, it’s just E harmonic minor, played so B functions as the root or “home base.”
But let’s stop analyzing there, as Mustaine has said he doesn’t concern himself with exotic scales and modes, and generally considers his playing to be blues based. So, while he may not actually be thinking of the above scale choice, it demonstrates his openness to taking his solos to unexpected places by exploring different sounds. This is something you can keep in mind when creating your own solos to keep them unique and fresh. After all, music doesn’t have to make sense; it just has to sound good.
A 1970s-inspired circuit with separate fuzz and octave switches, a toggle switch to change the order of circuits, and sturdy construction for years of use.
Just a few months after the successful launch of the By-Tor overdrive/boost pedal, Alex Lifeson and Lerxst have announced their next pedal collaboration - The Snow Dog. The Snow Dog is an octave fuzz that utilizes the Lerxst two-in-one pedal format to provide a versatile array of modern and vintage fuzz sounds with a foot switchable upper octave effect. The Snow Dog is available now for $295 as a limited-run of 500 pedals available exclusively through the LERXST Reverb Store and also includes a tour pass signed by Alex.
With this latest creation, Alex found himself chasing the sounds that he was hearing on records by Hendrix, Beck, Page, and more. "My introduction to fuzz was before I had any on my face,” he says. “My first pedal was the glorious Fuzz Face and ‘In A Gadda Da Vida’ never sounded better!"
The Snow Dog builds off of a beloved silicon octave fuzz circuit from the early 1970s while updating the effect for the needs of the modern player. The fuzz section of the pedal has a wide gain range that runs the gamut from subtly satisfying vintage fuzz sounds to thick sustain that can be dialed from the pleasantly muffled to screaming leads with the turn of the tone knob. There is also plenty of volume on tap to provide an added kick to even the cleanest of amplifiers.
The octave section of the pedal combines multiple semitones to create The Snow Dog’s signature upper octave sheen. When used without the fuzz, it can add subtle synthy textures to your core guitar sound as well as a slight gain boost. When combined with the fuzz section, The Snow Dog reaches its final form as a searing octave fuzz that can cut through any mix while still retaining its thickness and texture. Just like By-Tor, the order of the two sections can be changed via toggle switch, resulting in two distinctly different octave fuzz sounds.
“I use distortion, fuzz, and overdrive pedals and plug-ins when I'm looking for that kind of specific sound for the projects I work on and am having fun with both the By-Tor and Snow Dog pedals,” Alex says. “But it's the Snow Dog that really screams. It can produce the most horrific fuzz in the Universe!”
As with all Mojotone products, Snow Dog is handcrafted in the USA with top-quality components for years of trouble-free use at home, on stage, or in the studio.
- 1970s-inspired circuit for a rich, creamy fuz
- Analog octave circuit
- Separate fuzz and octave switches
- Toggle switch to change order of fuzz and octave circuits
- Sturdy steel enclosure
- Heavy-duty footswitches, knobs, and jacks
- 9V DC Negative Center Power
- Current Draw: 70mA
- MAP: $295
For more information, please visit lerxstamps.com.
Alex Lifeson Unveils New Lerxst Snow Dog Octave-Fuzz | Tone Report
Luthier Ken Parker blends old world lutherie and aerospace tech materials, proving that wood and carbon fiber can dance together in a romantic tango of sonic bliss.
In the guitar market, classic models still have the biggest influence, but the future is lurking.
In the ever-evolving music industry, the electric guitar stands as an enduring stalwart, having shaped the sonic landscape for generations without much physical change. I’ve joked about the state of the guitar before, but let’s take a more serious view of what’s happening in the guitar business. It’s apparent that the classics continue to wield influence, while also undergoing a transformation reflective of the current tech era.
First, let’s consider the resonance of tradition. The vintage trade has never been more robust, and sale prices are at an all-time high. Of course, those rising price tags mean that more cost-effective, vintage-inspired designs are continuing to attract buyers. As a consequence, budget-conscious guitarists are gravitating towards instruments that pay homage to the golden era of rock ’n’ roll, which now encompasses “shredder” guitars as well. At the higher end of the price range, boutique luthiers and established brands alike continue crafting instruments that marry the timeless elegance of yesteryear with modern touches—with varying results.
The aftermarket is awash with the same strategy. Take, for instance, the drumbeat of PAF-style pickups—the holy grail of vintage tone. It’s the tone that everyone wants, but few have actually heard firsthand. Still, discerning players seek out guitars fitted with these replicas, their imaginations yearning for the warm, creamy sound that defined the bluesy (recorded) licks of legends. With the marketplace flooded with PAF imposters, it may be just a matter of time before more recent pickup designs become subject to widespread recreation. A case in point is the resurgence of the T-Top Gibson humbucker, which was the less cherished replacement to the PAF.
And it’s not only pickups. In the spirit of this quest for retro authenticity, some builders have gone a step further, meticulously recreating or improving upon other vintage components, ostensibly to capture the elusive magic of bygone eras. The difficulty for consumers to compare these products to the “real” thing is a conundrum that works in the maker’s favor. In the end, if you like what you hear, that’s what matters.
“As vintage-aesthetic fatigue sets in among some players, carbon fiber, aerospace alloys, and 3D-printed components are pushing the boundaries of what was once deemed sacred.”
Despite the constant dialogue about the golden age of guitars, the electric market is no stranger to innovation. Effect and amp builders offer both digital and analog impressions of vintage products, and there is a faction also pressing ahead into options never imagined in the past. In a world fueled by technological leaps, guitar amplification has embraced a metamorphosis in the realm of digital signal processing, where guitars are not mere instruments but also game controllers for a myriad of sonic possibilities. More and more, modeling technology is becoming the alchemist’s potion, allowing players to summon the tones of iconic amps and effects with a simple twist of a knob. Or at least, as the saying goes, close enough for rock ’n’ roll. It’s tempting to write off these devices based on early attempts, but as processing power gets more powerful and costs come down, we may see the final triumph of solid-state.
The tech touch is also evident in the rise of avant-garde designs and materials. As vintage-aesthetic fatigue sets in among some players, carbon fiber, aerospace alloys, and 3D-printed components are pushing the boundaries of what was once deemed sacred. Whereas previous attempts to integrate aerospace materials were laughable, modern-day artisans are crafting guitars that twist convention, challenging players to rethink their perceptions of what a cool electric guitar can be. The juxtaposition of tradition and innovation is not always a clash but a quest, where the echoes of the past might resonate in harmony with the cutting-edge present.
The democratization of luthiery has also given rise to a thriving custom and boutique market. When I started building instruments, there was no StewMac, and information was a guarded secret. Now, with social media as their stage, thousands of small-scale builders showcase their take on the past or their stab at the future. Like the craft-beer movement, small-shop guitar-making has turned into a significant hobby. These creations stand as testament to the artisanal spirit now driving the guitar market forward.
Yet, as we traverse the landscape of the electric-guitar market, it’s crucial to acknowledge the challenges. The digital age has ushered in a paradox—while virtual instruments and home-studio setups offer unprecedented accessibility, they also pose a threat to the tactile experience of playing a physical instrument. The allure of instant gratification in the form of digital plugins challenges the traditional methods that have defined the soul of the electric guitar for decades.
In my view, the electric-guitar market is a tapestry woven with threads of tradition and innovation. It’s a place where vintage sensibilities mix with cutting-edge technology, and the esoteric meets the mainstream. As players and builders continue to search for new ways to differentiate themselves, the electric guitar remains an ever-evolving muse, resonating with the echoes of the past while charting a course towards an exciting future. In other words, just as it has always been.