As with all great guitarists, Stevie Ray Vaughan’s rhythm playing was as strong as his leads. Stevie Ray Vaughan excelled at a style of shuffle playing that has its roots in earlier players, yet he was able to turn it into a personal trademark. This riff is based off of a twelve bar blues in G. The chords being outlined are G7, C7, and D7, with a hard shuffle feel. Some of the other techniques being used are hammer-ons, pull-offs, slides, bends, and position shifts. When you listen to a rhythm section playing a medium shuffle, it’s quite common to hear the bass playing a walking line (moving quarter notes) while the guitar strums chords on the upbeats. CLICK HERE FOR THE PAGE FOR THIS EXERCISE
These three note per string Slippery Legato Patterns is designed to help you build, strength, dexterity, and coordination between your hands. This is a common technique with guitar players such as Joe Satriani, Steve Vai, Alan Holdsworth, and many others. This sixteenth note triplet lick outlines the G major scale across the neck, with hammer-ons, pull-offs, slides and position shifts. The key to this exercise is the position shifts that move in a ascending pattern up the neck. This legato exercise is broken up into three sections that gradually add more variations is it progresses, and in turn getting a little more difficult as it goes as well. Join https://www.practicetheguitar.com/ and become a member to practice with tons of video lessons at multiple tempos, with full tablature and notation, and backing tracks to practice with. CLICK HERE FOR THE PAGE FOR THIS EXERCISE.
Arpeggios are everywhere. They’re requisite for nailing the changes in jazz standards, shredding your way through your favorite instrumental rock track or busting out some burning modern blues, as well as a myriad of other musical scenarios. In this lesson, we’re going to explore an assortment of arpeggio patterns that will help you escape the rut of standard pentatonic and scalar patterns that will help you be able to apply smaller super useful ways to outline many different types of chord changes in any style. If you have a scale like the C major scale: C D E F G A B C, you can build the diatonic 7th chords by stacking 3 thirds on top of each other. A diatonic third is essentially the 2nd note from the note you are on so for C the third above it is E, for D it is F. If I stack 3 thirds from C I’ll have these 4 notes: C E G B which is a Cmajor7 chord or arpeggio. From D I get D F A C which is Dm7. The Diatonic chords in C major are CMaj7, Dm7, Em7, FMaj7, G7,Am7, Bm7b5 For this lesson are are playing all the diatonic chords on the middle three strings, and then the top three strings on the guitar. there are a total of eight arpeggio shapes all starting on the seventh degree of each chord. CLICK HERE FOR THE PAGE TO THIS LESSON.
String bending is one of the most effective techniques you can use to get expression and emotion to your solos. Bent notes can emulate the lyrical, singing quality of the human voice and make a melody really “speak” with authority and a deep sense of feeling. This is especially true of bent vibratos, where a string is first bent up to a specific pitch and vibrato is then added to the note. In this lesson, lets work on ways improve one’s string bending technique. The most important aspect of bending is achieving good intonation, and making sure your bends are properly in tune. Few things sound worse than a bend that is out of tune and indecisive. We are going to cover whole step bends, bend release, pre-bend release, and half step bends. Where also working in the E minor pentatonic scale. Grab your guitar and lets get working on your bending technique. CLICK HERE FOR THE PAGE TO THIS LESSON.
In this lesson we will take a look at some string skipping arpeggios that are used by players like Paul Gilbert, Nuno Bettencourt, and Guthrie Govan. The idea is to achieve three octaves of major seventh arpeggios in movable patterns so you can learn, and use in your own solos. We are using wide stretches, hammer-ons, pull-offs to make this legato arpeggio sequence happen. Join https://www.practicetheguitar.com/ and become a member to practice with tons of video lessons at multiple tempos, with full tablature and notation, and backing tracks to practice with. CLICK HERE FOR THE PAGE TO THIS LESSON.
This Licks For Rock Soloing example is a four measure lick to help guitarists to work up the neck in the key of A minor. This exercise is great for learning how to add color to the minor pentatonic scale but adding specific intervals. Here we are using the b5th, 9th, and the 13th. Using hammer-ons, pull-offs, bends, slides, and shifts, its a very useful exercise for building vocabulary for soloing across the guitar neck. CLICK HERE FOR THE PAGE TO THIS LESSON.
This Percussive Fret Hand Muted Power Chord exercise is designed to help you connect power chords with strummed muted strings. This technique gives you a very rhythmic and percussive sound. The challenge with muted strings is getting strings to ring correctly when you want them, and muted when you don’t. 90% of popular rock guitar playing utilizes these chords. CLICK HERE FRO THE PAGE TO THIS EXERCISE.
In this arpeggio exercise I want to cover share a trick based around a concept that will add some sophistication to your improvisations (while also being sure to turn heads with its attention-grabbing coolness!): open-voiced, string-skipping 7th arpeggios. The basic idea is this: we split up the arpeggios into six-note patterns with two notes per string on three strings, skipping a string in between each. CLICK HERE FOR THE PAGE TO THIS EXERCISE.
This amazing 16 measure solo covers many awesome techniques that every guitarist would want to learn, hammer-ons, pull-offs, slides, many position shifts, arpeggios, lydian scale, minor pentatonic, chromatic lines, sweep picking, and even two finger tapping. We see all our favorite guitar players using all these techniques, and learning this soloing exercise will vastly improve your guitar playing regardless of your skill level. The tonality of this solo is D lydian, That is a A major scale with the chord progression set up where D major is the home chord. Instead of the tonic note of the A major scale being the A note, its the D. The A major scale is A B C# D E F# G# A. The D lydian scale is D E F# G# A B C# D. The shift in the order of the intervals coupled with the chords being used gives the unique sound of the dorian scale. CLICK HERE FOR THE PAGE TO THIS EXERCISE.
Sweep picking is often regarded as a “shredder’s” technique, the notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself. Jazz players such as Les Paul, Barney Kessel and Tal Farlow, would use the approach in their improvisations, and country guys like Chet Atkins was known to pull out sweep-picked arpeggios, as well as rock player like Ritchie Blackmore used sweep picking to play arpeggios as well. Yngwie Malmsteen is known as a master of sweep picking on the guitar. CLICK HERE FOR THE PAGE TO THIS LESSON.