Alternate picking is the process of moving your pick in an down-stroke/upstroke pattern. It is very important to use your wrist in alternate picking ... NOT your whole arm, or elbow. The strength will also come from your forearm muscles. Any forearm workouts will really make your alternate picking more powerful and dynamic. It is extremely important to use a metronome for each and every one of these alternate picking exercises. One important thing to remember while doing these exercises are that: even though alternate picking is strictly down and up picks, you can do whatever picking pattern you want, as long as you are picking every not. Because some picking patterns are more comfortable than others. Here is one basic alternate picking pattern that never fails to get the job done for practicing alternate picking. This is a chromatic exercise that allows your wrist to become limber and helps you to begin to build fluency. Before you start these exercises, do a warm up by twirling your wrists back and forth clockwise, and counter clockwise. Do this for approx. 5 minutes, then get into these exercises and use a metronome if possible. Practice each excerpt at a slow tempo. Ascending E-----------------------------------------1-2-3-4--- B---------------------------------1-2-3-4----------- G-------------------------1-2-3-4------------------- D-----------------1-2-3-4--------------------------- A---------1-2-3-4----------------------------------- E-1-2-3-4------------------------------------------- Descending E-4-3-2-1------------------------------------------ B---------4-3-2-1---------------------------------- G-----------------4-3-2-1-------------------------- D-------------------------4-3-2-1------------------ A----------------------------------4-3-2-1--------- E-------------------------------------------4-3-2-1 Here we are taking the same chromatic sequence and spreading it across the fret-board in a backwards horizontal like pattern. Ascending: E------------------------------------------9-8-7-6 B---------------------------------8-7-6-5--------- G-------------------------7-6-5-4----------------- D-----------------6-5-4-3------------------------- A---------5-4-3-2--------------------------------- E-4-3-2-1----------------------------------------- Descending: E-7-8-9-10--------------------------------------------------------- B----------8-9-10-11----------------------------------------------- G--------------------9-10-11-12------------------------------------ D-------------------------------10-11-12-13------------------------ A-------------------------------------------11-12-13-14------------ E-------------------------------------------------------12-13-14-15 One More Chromatic Excerpt that uses string skipping instead. Starting on G.E------------------------B-----------------3-4-5-6G------------------------D---------3-4-5-6--------A------------------------E-3-4-5-6----------------Now ... Same Idea, But Descending in a backwards string skipping order.
E-6-5-4-3-----------------B-------------------------G---------6-5-4-3---------D-------------------------A------------------6-5-4-3E-------------------------After this, now we shall go and introduce triplets into our alternate picking hand. Why is this important? Because it trains our wrists to be able to play many different tuplets in alternate picking. It makes your picking more fluid and smooth once you learn to do two-five notes per string patterns. Here in this excerpt, we are starting on G, and outlining the G major scale in a triplet or sextuplet pattern (depending on the speed you play it at. This is a very movable shape, so you can play this shape anywhere 6th string root. Ascending E----------------------------------5-7-8 B----------------------------5-7-8------ G---------------------4-5-7------------- D--------------4-5-7-------------------- A-------3-5-7--------------------------- E-3-5-7--------------------------------- Descending: E-8-7-5---------------------------------- B-------8-7-5---------------------------- G--------------7-5-4--------------------- D---------------------7-5-4-------------- A----------------------------7-5-3------- E-----------------------------------7-5-3 Here is one more triplet pattern that is using the A Whole Tone scale in a triplet pattern on three notes per string.
E-------------------------------------10-12-13B-----------------------------9-11-13---------G---------------------8-10-12-----------------D--------------7-9-11-------------------------A-------6-8-10--------------------------------E-5-7-9---------------------------------------Here is a quintuplet chromatic pattern that is very similar to the first chromatic exercises that are shown. Starting on A.
E----------------------------------------------------------------------B----------------------------------------------------------------------G------------------------------------------------------------5---------D-----------------------------------5---------------5-6-7-8-----8-7-6-5A----------5---------------5-6-7-8----8-7-6-5-6-7-8--------------------E-5-6-7-8----8-7-6-5-6-7-8---------------------------------------------
E-----------------------------------------5---------------5-6-7-8B----------------5----------------5-6-7-8---8-7-6-5-6-7-8--------G--------5-6-7-8----8-7-6-5-6-7-8--------------------------------D-6-7-8----------------------------------------------------------A----------------------------------------------------------------E----------------------------------------------------------------Now to insert arpeggios. Alternate picking arpeggios is a very good way to further mature and strengthen your picking hand and wrist. Surprisingly, it also helps when you go to practice your sweeping shapes, and arpeggios. We will start with your basic Major, Minor, Diminished, Half Diminished and Dominant Shapes. Here is your A minor Shape: With E as the root, or tonic.
E--------------8-12-8-------------B-----------10--------10----------G---------9--------------9--------D------10------------------10-----A-7-12------------------------12-7E---------------------------------A Major Shape: with F# as the root (tonic). E--------------9-12-9------------- B-----------10--------10---------- G---------9--------------9-------- D------11------------------11----- A-9-12------------------------12-9 E--------------------------------- A Dominant. Over an arpeggiated A7 chord, this sounds very beautiful.
E-------------------12-15/17-15-12------------------B----------------13----------------13---------------G----------12-14----------------------14-12---------D-------14----------------------------------14------A-12-15----------------------------------------15-12E---------------------------------------------------A Minor 7th Flat 5 Arpeggio (Half Diminished): very unique sounding, and very jazzy.
E-------------------11-15/17-15-11-------------------B----------------13-----------------13---------------G----------12-14-----------------------14-12---------D-------13-----------------------------------13------A-12-15-----------------------------------------15-12E----------------------------------------------------A Diminished
E------------8-11-8-----------B---------10--------10--------G-------8--------------8------D----10------------------10---A-12------------------------12E-----------------------------A Augmented. Very odd and Dissonant sounding.
E-------------9-13-9------------B----------10---------10--------G-------10---------------10-----D----11---------------------11--A-12---------------------------12E--------------------------------This is the end of this session. I will post a second lesson shortly that covers more. I just want to see how this lesson does. Have fun! If this gets positive review, ill continue on with more lessons. Enjoy.
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Well hello there UG readers, today I am going to give hopefully a useful idea to inject into your warm-up. So first it is a constant picking pattern, a simple upstroke, followed by and upstroke, proceeding to a downstroke. So if I was to put this into a tab it looks something like this: Fig. 1
This is a follow-up to my last lesson, Linking Pentatonic Scales and Arpeggios. Every major and minor pentatonic scale contains an embedded arpeggio, and these arpeggios can be utilized in your improvisation and guitar solo creation. I will be using the pentatonic scales and arpeggios listed below to show how you can find all of the available arpeggios within a chord progression, and then use these arpeggios throughout a solo. If you are unfamiliar with these pentatonic and arpeggio shapes, please check out Linking Pentatonic Scales and Arpeggios for a clear description and multiple exercises. Here is the Major Pentatonic Scale Shape E4, which has the low root played on the E-string with the 4th finger (hence the name "E4"). Next to it is the Major Arpeggio E4, which contains only the notes of the chord (the Root, 3rd and 5th).
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Learn a method of writing drums for your heavy metal songs. Perfect for song-writers who do not play the drums. Listen to this very simple and fun palm-muted metal riff: Heavy Palm-Muted Riff.MP3 
It is very repetitive and the perfect type of riff to sing or play a guitar solo over. In my case, I wrote this riff to have death vocals sung over. There are tons of possibilities but whatever you do, you will probably want an awesome drum beat to accompany it. Am I right? Since you are such a great guitarist and composer, you have probably got a ton of these kinds of sweet, bouncy riffs lying around all over the place. If you do not have a drummer to write beats for you, your next best option is to use drum samples to write the beats yourself. As a guitarist there is always the possibility that you have no idea how to write a drum beat. I know I did not when I first started. I wrote crazy nonsense for drum beats back in the day. When I finally got a drummer and let him listen to my songs, he told me that he would need five arms and unbelievable penile control to play those beats. I have been playing in my current band (Zoltan) for many years now and I often hear people tell my drummer how impressive his drum work is. Since I write all the drum parts for my band, I feel like they are actually complimenting me and now I want you to get the same results. So let us get to it! The first thing that I like to do when writing a beat for this type of riff is have the bass drum (also known as a kick drum) play along with all of the palm-muted guitar notes. A riff like this is really all about the rhythm. Having the kick drum in perfect synchronization with the guitars is an excellent way to accentuate that rhythm. Here is the result: Kick Drum.MP3 
The sweet thing about having the kick drum play in sync with the guitars is that it makes it easier to hear what the guitars are playing. In other words you are getting heaviness and clarity at the same time. You cannot beat that! Now let us add in some snare and hi-hat. It is common for the hi-hat to play once on every beat and the snare on whichever beats you want to accent. An example would be to hit the snare on every second and fourth beat. This would sound like "tss-pah-tss-pah." You could do this and it would sound just fine with the riff we are using but I personally want to make it into a slow brutal riff, so instead I am going to play the hi-hat on only half of the beats (the first and third beats only) and have the snare hit only once per bar on the third beat. Hihat & Snare.MP3 
The x-shaped notes at the top are the hi-hats. The snare is the note on the third space (counting from the bottom, as is the usual practice in music theory). The hi-hat and snare usually work together to create the overall feeling of the drum beat, which is why I add them together instead of one at a time. If you do not feel that you are ready to think of two things at once, then think about just using the snare on the spots you want to accent and then add in the hi-hat in a very straight pattern. You will definitely get the hang of it over time. So now we actually have a complete beat but it is far from sounding soul-destroying. Everything else you might do from here onward could be considered simple tweaking. There are countless ways you could go about tweaking this very basic beat to sound the way you want it to. I will show you how I went about it but remember that there is no wrong way to write a drum beat. This is just one method that I like to use when it comes to these types of heavily muted riffs. The first thing I would like to do is make it sound heavier overall. The hi-hat is just not doing it for me so let us replace it with crash cymbals. Crash Cymbals.MP3 
You can see at the top that the old hi-hats are gone. Those new x-shaped notes you see are both crash cymbals. Next, I am thinking of adding variety by completely changing up the feeling in the second half. Instead of continuing on with the crash cymbals I am going to revert back to the hi-hat and I am going to have it and the snare play twice as fast. So there will be hi-hats on every beat and snares on every second and fourth beat. Below is what the second half of the beat looks like in notation. The old hats are back but there are twice as many of them now and twice as many snares now accompany them. Latter Half Variation.MP3 
Nice. There is still one problem with this beat. Where there are no muted heavy chords, the drum beat just kind of stops. We can fill that in with some simple snare and cymbal hits. There they are at the end of every fourth bar. Sustained Note Hits.MP3 
The beat actually sounds quite complete now but even with the second half changed up, it still sounds boring to me. The last step to make your beat really rock is to add decorations. It is up to you how and where to add decorations. It will vary for each person and each song. Decorations are a completely free-style process but they often contain well-known structures such as drum rolls and fills. This is the time to go crazy with your imagination and write stuff that makes you say, "That's insane!" Before going too crazy, here are a few guidelines to help make sure your beat is actually playable by a human drummer. 1. Most drummers are limited to the use of one drum stick per arm and only two arms. Make certain your beat never requires more than two drums (not including the kick drum) or cymbals being hit simultaneously. 2. Do not write a machine-gun kick drum beat that is any faster than the speed you can drum your palms on your lap. 3. If you want to have an opening and closing hi-hat, you will only have one foot available for the kick drum. Here are the additions I made. 
The top staff is the slow first part of the drum beat while the bottom staff is the faster second part. During the slow section, the first addition I made was a bunch of ride cymbal hits played at the same time as the kick drum. Right after that I threw in a quick hi-hat. That's all that is contained in the first red circle in the fourth bar. Right after the first red circle comes the snare and cymbal hits that accompany the sustained guitar notes. You can see that there is a single kick drum note in between the two hits. In the faster section, the changes occur right before the snare and cymbal hits where I placed a kick drum to lead into them. The first hit after that is usually a snare and a crash. Look closely and you will notice that the cymbal has moved to the third space above the staff. That is not a crash cymbal but a china cymbal. It is a small change but it goes a long way in eliminating a repetitive sound. Before the second snare hit are three rapid kick drums and then another kick at the very end. Final Beat.MP3 You are now ready to create soul-destroying drum beats for most heavy palm-muted riffs such as this one. I hope you found this article of great use. If you have any questions, feel free to contact me. Bonus.MP3 About the Author: Jahan Zoltan Honma is a recording artist and freelance composer based in Niigata City, Japan. You can learn more about Jahan at TheLegendaryZoltan.com and listen to some free music at Zoltan's SoundCloud. 
Note: before you continue this lesson please be sure to check out the latest Don ' t fully understand the lesson, anyway you basic chord construction. The reversal? These positions are not chords, that instead of starting with the root note, 3, 5, 7, etc. Since we are starting with the triads, we need to know that there are only two different inversions. The first inversion chord to start with three, while the two are reverse starting with the 5th now we know of inversions, let's get started. First inversion Main: M3, 5, 1 minor: m3, 5, 1 reduction: dim5, m3, 1 stratified: aug5, M3, 1 Flip the two largest: 5, 1 M3. Secondary: 5, 1 m3. The lesser: dim5, 1 m3. Augmented: aug5, 1 M3. For this we have chords with different names. Begins with a root called the base, since it begins with the root note. The first inversion chord will be 6 (six), since the separation between the lowest note is second highest 6 flip read. From 6/4, since the separation between the lowest note that 6 is the highest and the lowest note is 4. I hope this useful lesson, although not among the triad. For any questions just send me a message.
Hi I'm Jim McGrother and this is the first lesson I've submitted on Ultimate-Guitar so be gentle! As an experienced guitar teacher I find that for many new students beginning guitar lessons, learning to strum a simple chord sequence is one of the toughest barriers to over-come. While not quite as soul destroying as the moment that the importance of barre-chords dawns upon a bright-eyed "newb," the struggle to strum fluently can significantly sap a novices confidence. For me, strumming in a wide variety of rhythms was very natural and practically second nature straight away but for many it isn't. So here are a few easy steps to get you going. When learning a technique I believe that it's important to start right at the beginning. So here's as simple as it gets. Many of the most popular songs are in the time signature 4/4. This means that each bar has four beats or four "Quarter Notes." As the name suggests each note lasts for one quarter of the length of the bar. Think about a band counting in at the start of a song ("one, two, three, four"). We're going to take a G major chord and do four evenly spaced down strokes or strums. Counting to four, strum downwards on each new beat. To get the right tempo let's count at the same speed as seconds on a clock. 
Ace! That was one bar of G. Ok, not that difficult so let's add an extra bar in. On this exercise count from one to four twice putting a down strum on each new beat. 
Again, pretty easy. So let's add up-strokes into the first bar. To do this we need to divide up the bar into eighths rather than quarters. Count at the same speed as before (each new number a second away from the last) but this time between the numbers say "and." So the count goes: "one and; two and; three and; four and;" So for the first bar strum a down-stroke on the number (on the beat) and an up-stroke on the "and" (off the beat). In the second bar strum just down-strokes "on the beat." 
Ok, a bit trickier but maybe it doesn't sound great yet? The trick when creating a strumming pattern is variation! Try this strumming pattern. It starts with down-strokes on the beat and includes an up-stroke off the beat right at the end of each bar. By continuing straight into the next bar you'll have 3 quick strums together which breaks up all the down-strokes. 
Now you should have some stock patterns that can be combined in different ways and an idea of how to create your own patterns. Experiment building your own patterns a bar at a time. Eventually strumming will become an intuitive process and you'll be able to improvise around the basic groove or rhythm of a piece. The main thing is to keep your arm going at a constant pace down and up, down and up. To add interest try accenting certain beats by hitting particular strokes harder or softer. This can add interest to your playing in the form of dynamics. 
I've always found it's easier to improve picking speed with pentatonic patterns (2 notes per string) or chromatic patterns (4 notes per string) as they have an even number of strokes per string. You'll notice that when you change strings, you'll always be starting each new string with the same directional stroke. This is in the key of A minor and works through the 5 branches of the pentatonic. 
This is something I would recommend to people who've hit a wall with their shredding. The 2 string concept is even and works very nicely in solo writing or improvising when the speed is at a good pace. Have fun with it guys! Download tab here. By Chris Zoupa 
Through the kids I teach at my school and people I've met on YouTube and Facebook, I got so many requests for this solo! I can't believe I never took the time to learn this one. It's actually one of Kirk Hammet's best. There's a seriously ridiculous amount of win in this solo! Here's a break down of the sections that may be problematic. First of all, tuning: (Standard) E A D G B E This section starts with some pretty fast triplet taps. I just practiced getting the pulse correct on my right hand first. You can just tap 8 quavers per bar then try add the left hand in. It's really important that the pulse of the taps is right so that you stay in time. Might be worth brushing up on some simpler tapping licks and exercises. "One" by Metallica is good and of course Van Halen's "Eruption" is another great one to look at if you want to build up your tapping chops. These 4 sections are played predominantly in the F# minor box shape between the 14th and 17th fret. F# Minor Pentatonic: 
Hey guys. This lick really helped me in my early shred years. It's a basic Paul Gilbert style shred lick in the key of A Minor/G Mixolydian. I wanted to focus on a few things in this exercise. Firstly the shredding is in triplets and grouped into 6 note patterns. Working on shredding in triplets (or just 3 note per string patterns) is very important as I've found it to be the most common shredding style that comes up in most guitar solos. The key thing to practice and be aware of is that you're picking each string an odd number of times. I've often tried to avoid going down the "economy" picking road. Let's say we have 3 notes on the 6th string followed by 3 notes on the 5th. The 6th string you'll be picking down, up, down then on the 5th string up, down, up. Practicing the string changing and starting on an "UP" stroke feels weird until you drill it enough times. This is a common problem my students have had when they're trying to build up shred speed. Let's have a crack at the exercise below. 
Another thing I wanted to focus on in this lesson was palm placement when doing a slightly muted shred passage. A lot of my students, and various other guitarist I've met have had difficulty keeping and even dynamic and attack on all strings when they are doing a lengthy, 6 string shred passage. Instead of muting the strings where you start and then turning your wrist when changing strings, I've found than dragging my entire palm to the next few strings keeps everything sounding even. It also feels WAY less awkward. Enjoy the exercise guys! Happy Shredding! By Chris Zoupa 
I've seen a fair bit of debate recently on the topic of whether self-taught musicians can ever reach the level of their professionally-educated brethren, how long it would take them comparatively, what they need to do to get their, et cetera. But this debate always seems to devolve into opinionated conflict. The self-taught crowd takes on an air of independence, spouting ill-conceived lines like "You're just following your teacher's instructions because you don't have the skills to actually choose your own learning path." From the professionally-schooled crowd, it usually takes on a monetary overtone, something like, "Why do you think lessons are so expensive? I pay as much as I do because there are things you can only learn from a teacher. You'll never master your instrument if you don't take lessons from someone who knows those secrets." What often gets lost in this all-too-quickly degenerating debate, is the actual answer to the question, "Can a musician legitimately become as professional without a teacher as one would with a teacher?" As a self-taught professional musician myself, my own personal experience says, "yes." HOWEVER, there are, again in my own personal experience, certain steps that the self-taught musician must follow of their own accord. These steps are the same steps that a teacher bases his or her lesson plan around, but does not often share with the student. In the following video lesson, I explain this four-step program in-depth, and it should enable an aspiring self-taught musician to improve just as much as any professionally-taught musician. Enjoy! 
Ever wonder what finger(s) you should use to play something? If so, then you'll find this lesson useful. Here's a quick lesson on exactly what fingers to use when playing unfamiliar chords, scales, licks or anything that's new to you. Let me illustrate… I've been doing a bunch of traveling lately. Flying from Malaysia ... to San Francisco ... to Hong Kong ... to Taiwan. Literally from one side of the world to the other ... and back again. It's exhausting. My body's not used to it. And it actually weakened my immune system to the point where I came down with a debilitating fever complete with the "chills," followed by weeks of coughing, sneezing, and a sniffly running nose. And you know what? They've got a name for this: "Flying agony." In fact, if you use one of those airfare search engines that find you the lowest prices such as hipmunk.com (I dig this site). They've got the option to sort by "least agony." Meaning, they can actually give you recommendations on what they think is the least agonizing trip. So trips where you have: long waits for connecting flights unusually early or late flight times or excessive numbers of connections ...would all increase the "agony" factor for the trip, and make it a less desirable way to go. What's this got to do with playing chords and scales? This: When your fingers are transitioning from one chord to another ... Or from one scale note to the next... Those fingers should always be taking the PATH OF LEAST AGONY. Meaning, you don't want: movement of fingers unless ABSOLUTELY necessary unusually early or late last second transitions (with a few exceptions) or excessively long drawn out motions that aren't necessary No. What you want are small, smooth, economical movements of your fingers with the LEAST possible amount of "finger agony." The minimum needed. And nothing wasted. When you remember this rule, it’s almost a no brainer to figure out common questions like: "What finger should I use for this note?" "How do I best transition from Am to the C?... from G to D?" "Which finger plays what string of this scale?" The answers become obvious with just a quick analysis. So in effect... ONE simple rule has answered THOUSANDS of common questions you might have about fingerings for guitar. And guess what? It's almost always the same with OTHER topics on learning the guitar. Remember just a few simple rules, and you'll be able to answer MOST of the questions you’ll ever have about playing the guitar... YOURSELF. Meaning you'll rightly be able to say you’re a 100% self-taught guitarist. Like Hendrix, BB King, and Clapton ... and you can kiss expensive guitar lessons goodbye forever. And not only that ... You'll have the CHOPS to back it up. OK. That wraps it up for today. Have a good one guys. Wishing you fun times with your guitar, Johnny For more on these simple rules and other must-have lessons on learning the guitar, visit NobsGuitar.com, the best-kept secret of self-taught guitarists from over 73 different countries. Today, it has become one of the premier sources of accurate information, useful knowledge, and uplifting inspiration for scores of self-taught guitarists. Johnny's lessons have appeared on top guitar websites such as Ultimate-Guitar, GuitarNoise, and many others. He has just released a new book titled: "The No B.S. Guitar Advantage: Secret Strategies Most Guitarists Will Never Tell You About to Go From Beginner to Head-turning Guitar Player Faster Than You Ever Thought Possib