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Jason Richardson – Thought: Main Theme Tabs


Jason Richardson – Thought: Main Theme Tabs Jason Richardson – Thought: Main Theme Tabs
By Jason Richardson

November 29th, 2013

We’re happy to announce that we’re working together with Jason Richardson on an upcoming lesson series. In the meantime, we wanted to share the tabs below of the main theme from Jason’s new single ‘Thought.’ You can listen to it above and pick it up on iTunes. Jason tunes his Ernie Ball Music Man John Petrucci Signature Model 7-String guitar to Drop-G. Low to high: G D G C F A D. This tuning can also be thought of as Drop-A, down a whole step. To properly play the main theme of ‘Thought,’ be sure to pay close attention to pick stroke directions notated in the tablature, as well as the rhythmic groupings. As with any quick passage, start out by learning it at a very slow tempo, making sure everything sounds even and clean. Once you’re comfortable... Read More →

Metal Foundations Lesson 3: Intermediate Riff Concepts Metal Foundations Lesson 3: Intermediate Riff Concepts
By Zach Pino

October 11th, 2011

Welcome back, metal Guitar Messengers! The last lesson introduced you to some basic riff construction concepts based off of common chord diads and the palm muting technique. In this lesson, we’re going to dive right into some more advanced riff concepts. These include the use of tritones, bending techniques, and the use of palm-muted rests to create syncopated grooves. The riffs in this lesson are all in Drop D tuning, with the exception of Figure 3, which is in standard tuning. And as always, we’ll conclude the lesson with some essential metal albums that illustrate these concepts. Sound good? Let’s get started: Adding Tritones The tritone is an effectively sinister interval to use in metal riffs. At a certain time in classical music history, the tritone (also known as the ‘Devil’s... Read More →

Future Metal Shred Future Metal Shred
By Paul Wardingham

May 16th, 2011

Welcome to Guitar Messenger! My name is Paul Wardingham, and I’m going to be showing you how to play some futuristic-themed shred ideas using excerpts from my new album Assimilate Regenerate, as well as a solo written and recorded exclusively for this lesson. Whenever a student asks me how to play so-called ‘futuristic’ sounding licks, there are certain techniques and scales that always seem to spring to mind when trying to create this sound. Ex 1. Sweeping Sus2 Arpeggios – Cyber Warfare (4:31) Example 1 is taken from the last solo in the track ‘Cyber Warfare,’ and uses a sequence of sweep-picked sus2 arpeggios (R,2,5). The lick begins with a descending Esus2 arpeggio and then slides down to an ascending Csus2, up to Esus2, down to Dsus2 and finally a Gsus2 arpeggio... Read More →

Extended Range Composition Extended Range Composition
By David Maxim Micic

May 7th, 2011

Hey everyone! I’m David – guitar player, composer and producer for the band Destiny Potato. In this lesson I will show you the tuning that I use on my 6-string guitar along with some useful tips on how to create/compose interesting sounding riffs. I’ll also be playing a small solo section from my instrumental song ‘Bilo: part III’ from my upcoming EP Bilo at the end. GUITAR TUNING Since I’ve never had access to a 7-string guitar, I’ve adapted the tuning of a 6-string to give me access to the lower notes I want to use in my riffs. The tuning I use is an open chord tuning (Ab(9) power chord or Absus2) and it’s great for heavy riffs, open chords and creating cool jumps and crazy tapping licks, since everything is pretty symmetrical on the fretboard. The tuning is: Ab... Read More →

Creative Tapping Sequences Creative Tapping Sequences
By Stephen Ross

April 29th, 2011

This lesson will explore tapping sequences that depart from the typical rock and metal patterns we all know and love. To drive this lesson, I will be extracting two sections from ‘Warp,’ the unaccompanied solo from my debut Shrapnel release Midnight Drive. All examples involve hammer-ons from nowhere in the left hand. The first three examples use the right hand’s middle finger to tap out notes, while the last three use the first and third fingers. I like using the middle finger for the single taps because I hold the pick in between my index finger and thumb. Using the right hand to tap out notes can create sounds that would otherwise be very difficult to achieve. Almost any tapping lick can be played without using tapping; however, chances are it will not sound exactly the... Read More →

Sweeping Harmony Sweeping Harmony
By Jarle H. Olsen

April 22nd, 2011

I’m going to break down a segment of my song ‘Event Horizon,’ from my album Quadrasonic, for you to check out and study. For me, good composition always comes before anything else. I always try to paint the whole picture using all of the instruments. With this segment, I have added a lot of detail to the rhythm section and the chords underneath – otherwise it would just sound like a meaningless arpeggio sequence. What happens when you put all the elements of this arrangement in context is that the picture is completed, creating a strong melodic sense that sticks in your mind. Arrangement: Harmony & Rhythm I’ll start by analyzing the chord progression behind the melody. For the most part, it’s a descending chromatic progression: Cmin – Cmin(maj7) – Cmin7 –... Read More →

Metal Foundations Lesson 2: Riff Concepts Metal Foundations Lesson 2: Riff Concepts
By Zach Pino

April 3rd, 2011

Welcome back, fellow metallers! Last lesson, I introduced some basic rhythmic subdivisions and the palm muting technique. Expanding on palm muting and timing importance, this lesson will examine some ways to go about creating original riffs with common chord diads, rhythmic embellishments, and knowing when and when not to palm mute. Common Diads – Perfect 5th, Perfect 4th, Major 3rd, Minor 3rd, Minor 6th The following examples illustrate common chord diads based in the key of D. Two-note chords are great for adding tonal variation to your riffs. Diads are not full chords, but the intervals relative to the root note, in this case D, reflect major and minor chord qualities. Perfect 5th Diad A diad containing the root note and its 5th, also known as a power chord, is one of the most common... Read More →

Putting Jazz In Metal With Ever Forthright Putting Jazz In Metal With Ever Forthright
By Nicholas Llerandi

February 17th, 2011

Welcome to Guitar Messenger! I’m Nick from the band Ever Forthright. Today we’re going to use excerpts from two of our recent songs, ‘The Counter Shift‘ and ‘Dispose Of Your Optimism‘, to demonstrate how you can use jazz harmony and concepts in modern progressive metal. All examples are played on an 8-string in standard tuning: F# B E A D G B E Passing Tones – The Counter Shift 1:43: This section is a great example of using passing tones (labeled PT in the tabs) to connect chords in a riff or progression. This section is pretty much a ‘techy’ take on the same progression that happens in this song at 3:15. It’s based around a progression that was really jazz, or even hip-hop/R&B influenced (especially the Dbmin7b6 to the... Read More →

Metal Foundations Lesson 1: Rhythm Guitar Development Metal Foundations Lesson 1: Rhythm Guitar Development
By Zach Pino

January 24th, 2011

What’s that? You want to learn some metal guitar? You’re a beginner, too? No way! You came to the right place, my friend. Welcome to the first lesson in this beginning metal guitar series. With these lessons, I will lay the foundations for developing solid and precise metal technique. Whether you’re a novice guitarist or just want to brush up on some technique, this series will offer beginner-intermediate exercises and concepts to help you on your way to metal mastery. With patience, practice and a decent electric guitar and amp, you’ll be chugging out brutal riffs in no time. If you need a guitar, read Part 1 and Part 2 of my Buying Your First Guitar articles. If you already have a guitar, plug in and let’s get going. This lesson will focus on the importance of rhythm guitar in metal... Read More →

Diminished Possibilities: Part 2 Diminished Possibilities: Part 2
By Francesco Artusato

February 21st, 2009

Hey guys! Welcome again to my “Technical Difficulties” column – this is number 6 already! As the title suggests, this is the second part of a previous column I wrote for Guitar Messenger, so feel free to check it out and leave me comments in the “Ask Francesco” section of the forum. This time I am going to dive a little deeper into the Octatonic scale. I want to show you some of the sounds “hidden” inside the typical diminished shapes that all guitar players know and have come to love and use on a consistent basis. It is really interesting to see all the different tensions and arpeggios/chords that can be extracted from it. You will see in particular how bluesy some of the lines sound; also, to really hear a great master on this specific subject I would suggest that you listen... Read More →

2-1-2 Arpeggio Permutations 2-1-2 Arpeggio Permutations
By Francesco Artusato

May 22nd, 2008

Welcome to my fourth column/lesson. This time I would like to talk about a component of guitar playing that has always fascinated me: arpeggio permutations/fragments. Playing arpeggio fragments can make one’s playing more colorful, usually helping a musical phrase sound harmonically richer and more diverse. Get the Flash Player to see this content. var params = { 'allowfullscreen': 'true', 'allowscriptaccess': 'always', 'wmode': 'transparent' }; var attributes = { 'id': 'video0', 'name': 'video0'}; var flashvars = { 'file' : '', 'width' : '320', 'height' : '390', 'controlbar' : 'bottom', 'dock' : 'false', 'icons' : 'true', 'logo.hide' : 'false', 'logo.position' : 'bottom-left', 'playlist' : 'bottom', 'playlistsize'... Read More →

Diminished Possibilities: Part 1 Diminished Possibilities: Part 1
By Francesco Artusato

January 9th, 2008

Welcome to my third column/lesson. This time I’d like to talk a little bit about diminished scales/arpeggios with their possible application solos. Knowing how to use a diminished “idea” represents a very powerful tool to create moments of musical tension. A diminished/octatonic scale is a symmetrical scale (whose intervallic relationship is symmetrical) composed of 8 notes. There are 2 modes of a given diminished/octatonic set: whole/half/whole/half and so on, or half/whole/half/whole and so on. It’s a very easy scale to use on an instrument like the guitar, because even though there are 8 notes in it, there are only two positions to learn on the neck of the guitar. At the same time, consider how it is possible to expand such a scale in a variety of musical applications. To achieve... Read More →

Advanced Tapping: Extended Arpeggios Advanced Tapping: Extended Arpeggios
By Bill Peck

January 1st, 2008

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Allan Holdsworth’s “Day of the Dead” Solo Allan Holdsworth’s “Day of the Dead” Solo
By Francesco Artusato

October 28th, 2007

Derek Sherinian's Mythology Welcome to my second column/lesson! This month I’d like to talk about one of my favorite players of all time – Allan Holdsworth. He’s been a big influence in the electric guitar world, and has helped expand the musical vocabulary of countless players throughout the last three decades. Allan has always tried to push the physical and harmonic limits of his playing/instrument, and over the years has practically created his own language on the instrument and in the genre of fusion. Holdsworth represents everything that is good in the realm of guitar: from his impeccable time and touch, to his completely unique tone and singing lines. Much has been written in regards to Allan’s original dream of playing a horn, and his fight to make the guitar sound closer... Read More →

Different Groupings & Finger Independence Different Groupings & Finger Independence
By Francesco Artusato

October 15th, 2007

One of the most essential things that a guitar player can try to develop is the independence of fretting hand digits (equal control over every finger). There are lots of exercises that help to achieve this, and I think one of the best ones is the common 1-2-3-4 chromatic exercise across all strings. It can seem simple, but playing all the different permutations (1-2-3-4/1-2-4-3-/1-3-2-4/1-3-4-2/1-4-3-2/1-4-2-3/ and so on) with a balanced touch and good time while only using hammer-on’s and pull-off’s can be really demanding. In the long run, however, such control can be truly effective, and will open many doors that allow for more freedom over difficult and often awkward permutations/phrases. I would suggest starting with 3-note patterns (1-2-4/1-4-2/2-1-4/2-4-1/4-2-1/4-1-2), to move on... Read More →