The Ultimate Metal Guide

author: Unregistered date: 07/01/2005 category: music styles
rating: 2.8 / votes: 150 
In counteraccordance to the metalcore lesson, I am writing this lesson to cover everything not covered by that guy. I am an all around player, playing anything from blues/bluegrass to metal to classical. Whichever genre I decide to play, I will find the best guitar players in that particular genre and chase his dream until I have mastered his style. In the following text I will be examining the techniques of guitar players such as John Petrucci (Dream Theater), Adam Dutkiewitz (Killswitch Engage), Willie Adler and Mark Morton (Lamb Of God), and various others. This is nothing other but a piece together puzzle for you to use to make your own jams. Ðave fun with it. To me, the coolest part of metal music is the intensive use of pinch harmonics, but in this lesson I will use examples fit for the occasion. Take this piece from Lamb Of God's "Laid To Rest" for example. *= pinch |-------------------------------------------------------| |-------------------------------------------------------| |-------------------------------------------------------| |-------------------------------------------------------| |-2-2-2-2------2-2-2-2--------2-2--2--------------------| |-2-2-2-2-3b*--2-2-2-2-3b*----2-2--2-2-3-2-5-4-3--------| PM------- ------- ------ Unlike most uneducated guitar players who first learn this type of harmonic, these dramatic interludes are perfect for riffs with integral drum and bass lines to make them stand out from the rest of the music (as if they dont already). It doesn't take a lot of planning to hit the right note with these, but the wrong bending or finger vibration may throw off the pitch, so be careful when adding a measure with pinch harmonics. As the metalhead stated in the metalcore lesson, another great, and widely used, part of metal is hammer on/pull off methods. Yeah yeah, I'm sure you advanced guys are whining about how you already know this. I wouldn't be at all surprised if you didnt know, the variation of these fissures that you use directly influences the mood you observe while writing/listening to this music. I have a couple of examples of different variations of hammer on/pull offs that might just make the one riff you cant quite get right, a little more appeasing to the ears. The first example is taken from "In The Name Of God" by Dream Theater. Dream Theater may not be considered metal, but John Petrucci's riffs have got badass metal influence period so STFU! Fig. 1 Fig. 2 |-----------------------|-----------------------|------------------| |-----------------------|-----------------------|------------------| |-----------------------|-----------------------|------------------| |-----------------------|-----------------------|------------------| |---7-(7)---7b8r(7)-5-8-|-7---------2h3h5p3p2---|-7----5h7h8p7p5-8-| |-0-------0-------------|---0-(0)-0-----------0-|----0-------------| That is the best example of original, conventional hammer/pulls I can imagine. But there is, however, another variation that appeals to me, in which you must pause after the first note, then hammer and pull quickly afterwards. This variation is seen in alot of melodic, rhythmic solos, such as this which, in fact, is in the same song. |--------------------13h16h17p16p13----16h17h19p17p16-----| |-15p13-----13h15h17---------------h17----------------h18-| |--------h16----------------------------------------------| |---------------------------------------------------------| |---------------------------------------------------------| |---------------------------------------------------------| |-17h19h20p19p17---| |--------------h21-| |------------------| |------------------| |------------------| |------------------| Lets see. The metalhead said something along the lines of "In every metal song there is a 'breakdown' in which there is a long progression of palm muted notes." Hmm, other than the fact that it is usually not a "breakdown," but rather a toned down part of the song to set a certain mood, that is somewhat true. On the other hand, nowadays, atleast with the good bands, these pieces arent really used that much. There is just alot of thrashing, really active guitar. Also, all these notes are usually not muted. Alot of the time there is multiple open E muting or if it's dropped down, then some open D or C# muting, and then some various other notes which must be picked very cautiously. Sometimes these parts of the song are not concentrated on the guitar so much as other instruments in the band. The metalheads example was rather dull, considering that the bands he used arent so strong in guitar abilities. Lets see. I will use this example from "Vida Infra" by Killswitch Engage. |---------------------------------|----------------| |---------------------------------|----------------| |---------------------------------|----------------| |---------------------------------|-5--3-1-0-1-3-1-| |-5---------------5-------6-------|-5--3-1-0-1-3-1-| |---0-000-0-000-0---000-0---000-0-|-5--3-1-0-1-3-1-| PM... The metalhead, not surprisingly, didnt have much soloing capabilities. I will just give a few examples of some techniques and you can pick and choose. The first thing I would like to cover is trills. Trills are the s--t! Tapping is the s--t! If you have ever listened to Metallica before they became s--t, you would know that. One of the most worthy and infamous examples of trills and tapping is in the third solo from "One" by Metallica. T = Tap using edge of pick p = pull off finger or pick E-19p15p12--19p15p12-19p15p12-19p15p12-19p15p12-19p15p12-19p15p12-| B-----------------------------------------------------------------| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-19p15p12-20p15p12--20p15p12-20p15p12-20p15p12-20p15p12-20p15p12-| B-----------------------------------------------------------------| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-20p15p12-20p15p12-----------------------------------------------| B-------------------19p15p12--19p15p12-19p15p12-19p15p12-19p15p12-| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-----------------------------------------------------------------| B-19p15p12-19p15p12-19p15p12-20p15p12--20p15p12-20p15p12-20p15p12-| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-----------------------------------------------------------------| B-20p15p12-20p15p12-20p15p12-20p15p12-17p13p10--17p13p10-17p13p10-| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-----------------------------------------------------------------| B-17p13p10-17p13p10-17p13p10-17p13p10-17p13p10-18p13p10--18p13p10-| G-----------------------------------------------------------------| D-----------------------------------------------------------------| A-----------------------------------------------------------------| E-----------------------------------------------------------------| T T T T T T T T E-------------------------------------------------------| B-18p13p10-18p13p10-18p13p10-18p13p10-18p13p10-18p13p10-| G-------------------------------------------------------| D-------------------------------------------------------| A-------------------------------------------------------| E-------------------------------------------------------| T T T T T T T T T T T T E---------------------------------------| B-17p12h14-17p12-17p10-17p12-17p10-17p8-| G---------------------------------------| D---------------------------------------| A---------------------------------------| E---------------------------------------| T T T T T T T T T T T T E----------------------------------| B-17p10-17p8-17p7-17p8-17p7-17p5---| G----------------------------------| D----------------------------------| A----------------------------------| E----------------------------------| E------------------------------14-14-14-| B-/12-12-12--12-12-12--12--12-----------| G---------------------------------------| D---------------------------------------| A---------------------------------------| E---------------------------------------| E-15-15-15--17-17-17------------17-17-17-17-| B---------------------15-15-15--------------| G-------------------------------------------| D-------------------------------------------| A-------------------------------------------| E-------------------------------------------| E-22^24-------22^24----22^24~|~\---------------15-----| B----------------------------|--------------/17--------------| G----------------------------|-------------------------------| D----------------------------|-------------------------------| A----------------------------|-------------------------------| E----------------------------|-------------------------------| E-17p15---------------15h17p15-------------| B--------17-15-17-19-----------17-15-17-19-| G------------------------------------------| D------------------------------------------| A------------------------------------------| E------------------------------------------| E-15h17p15-------------15h17p15-------------15-| B----------17-15-17-19------------17-17-19-----| G----------------------------------------------| D----------------------------------------------| A----------------------------------------------| E----------------------------------------------| E-17p15------------15-17p15---------15h17----| B--------15-17-19------------17--15----------| G--------------------------------------------| D--------------------------------------------| A--------------------------------------------| E--------------------------------------------| E-19p17p15-----19p17p15-----19p17p15------19p17p15----------| B----------15-----------15------------15------------15------| G-----------------------------------------------------------| D-----------------------------------------------------------| A-----------------------------------------------------------| E-----------------------------------------------------------| E-19p17--------19p17--------19p17---------19p17p15----------| B----------15-----------15------------15--------------------| G-----------------------------------------------------------| D-----------------------------------------------------------| A-----------------------------------------------------------| E-----------------------------------------------------------| E-------15-------15-------15-------15-| B-18^20----18^20----18^20----18^20----| G-------------------------------------| D-------------------------------------| A-------------------------------------| E-------------------------------------| E-18^19-15-------15-18^19-15-------15-| B----------18^20-------------18^20----| G-------------------------------------| D-------------------------------------| A-------------------------------------| E-------------------------------------| E-19p17p15-17----17p15----15----------| B----------------------19-------------| G-------------------------------------| D-------------------------------------| A-------------------------------------| E-------------------------------------| E-------------------------------------| B-19p17p15-17-----15h17p15\13--15-----| G-------------------------------------| D-------------------------------------| A-------------------------------------| E-------------------------------------| E------------------------------------------|| B-13h15p13\12--13-----12h13p12----12-------|| G------------------------------14----14p12-|| D------------------------------------------|| A------------------------------------------|| E------------------------------------------|| E------------------------------------------------------------| B------------------------------------------------------------| G-14p12----12----12--14^-14^-14^--14^16-14^16-----v14p12-----| D-------14----14------------------------------------------14-| A------------------------------------------------------------| E------------------------------------------------------------| E---------------------|--------------|---------------------------| B---------------------|--------------|---------15^----------15^--| G-12-----12-----------|--------------|---------15^----------15^--| D----14------14-13-12-|--------------|-17--17--------17--17------| A---------------------|-14-13-12-10~|---------------------------| E---------------------|--------------|---------------------------| E---------------------------|-------------------| B---------15^----------15^--|-17^-v-^-v-^-17^v^-| G---------15^----------15^--|-17^-v---v-^-17^v^-| D-17--17--------17--17------|-------------------| A---------------------------|-------------------| E---------------------------|-------------------| Lots of tapping and trills, but most metal music doesnýt have all that. Mostly metal, if you get really hardcore metal like old Slayer and all those old style metal bands, they just do alot of shredding. Thatýs where metalhead's theory comes into play. A lot of scales and bends and all that. The only thing he forgot to mention was the strategic placement of bends in order to keep them in tune with the song. Random bending is a no! Random piecing of scales together is a big no! Think this shit out you dumb shits! It's not that hard. Figure out where the scales piece together, and where the bends sound good, and where to drop down an octave. If you can drop an octave in your scales in a metal song, you have got it made. If you dont like this lesson I don't give a f--k! How about that? Good luck to all who this may help. To all that would like to thrash this lesson b/c of a typo or something, go fuck yourself, b/c you have nothing else to do but thrash someone elses work to make yourself feel better. Take a lesson from me. I didn't thrash metalcore guy who wrote that other lesson. I skillfully corrected his mistakes.

~image
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