Shred Guitar Lesson 04

I will teach you the third pattern in our E minor scale. Tapping is also featured here.

Hey guys. In this lesson I will teach you the third pattern in E minor. I will also teach you how to perform the two-handed tapping technique, which is an extension of the legato technique we looked at in the last lesson. I'll give some exercises within the E minor scale. Hopefully I'll feel confident enough to put the next part of "Cold Blood" in the lesson. Are you warmed up? Good. Here we go. I will show you the scale pattern first so you can know where the notes are for our exercises. The scale pattern is the third pattern in the key of E minor and it starts on the note G. You can use alternate picking here if you want, to just get used to the notes. Here's the scale.

Do you recognise the sound of this scale? You should. This scale is the most widely used scale in western music. This scale is called the G major scale. The first scale we looked at was the E minor scale. The major scale can be recognised as sounding "happy". The minor scale sounds "sad". We won't get into too much theory here. Just know that for now. It's important when you start writing your own music later on. Now we will look at two-handed tapping. This technique was popularised by Eddie Van Halen from Van Halen. For reference listen to the song "Eruption" from their first album. It is an extremely famous section. The technique involves bringing your picking hand over to the fretboard and performing a hammer-on. When you pull-off with a tapped note you flick your finger off exactly like you would if it was a normal pull-off. To perform tapping you can use your middle finger to tap out the notes. You can do whatever makes you feel comfortable though. You could also put the pick in the crook of your middle finger and tap with your index finger. It is a simple technique, but it is flashy. I remember playing for some homeless children and I was performing "Eruption" to show-off. When I finished one of the kids exclaimed that he was amazed by my "hand thingy". It's always rewarding when that happens. The examples that follow have been redone over and over, but these are essential exercises to get used to the technique. In the tablature the tap will be noted by a "T" under the note. Here's the first one:
Here is a small variation on that exercise:
Now we will look at an exercise that has more going on. We will change the tapping note from one note to the other. Here it is:
Pretty easy, huh? It's not difficult at all, but there is so much you can do with this technique. Let's change the notes in our fretting hand AND our tapping hand. Here it is.
I wanted to add an exercise that looked good as well as sounded good. When you pull off from the tapped note you shift your first finger to the 14th fret on the G string. I also wanted to put a slide in there, just for fun. Now we will look at an example of tapping that involes moving strings. Whenever you perform this make sure the notes sound clear and even. Make sure there's no other notes ringing out. It helps if you mute with your palm on the lower strings if you haven't found that out already. Here's the exercise:
It's pretty fun. Tapping is one of my favorite techniques ever. The amount of things you can do with tapping is nearly endless, but we will go over more advanced tapping techniques in another lesson. I'm feeling pretty good right now so let's look at another lick in "Cold Blood". This lick is exactly after the last lick in the legato lesson, so you should work on connecting the two licks. Here you go:
Again, this is my lick. You may not use it in any of your own songs. Work on connecting the two licks into a lick that will really weld all the techniques we've looked at so far together. Remember to make every note you play clear and clean. In the next lesson I will look at economy picking. It uses alternate picking and is a huge gateway to the technique of sweep picking. As always practice, practice, practice. It is important to play these techniques in the ultimate goal of shredding. Have fun. Check out previous lessons here. The next lesson will be here soon.

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    Nice lesson, but... "Again, this is my lick. You may not use it in any of your own songs." You know you can't just claim a lick (or riff, or progression, etc.), right? If that was the case, no one would be able to play hardly anything nowadays because so much has already been done. Which is why you constantly hear licks recycled from Jimmy Page, Paul Gilbert, SRV, Randy Rhoads, Eric Clapton, and on and on and on (and they probably recycled a lot of them from their own influences).
    This part of my song. I made up the lick so why would you take it? Thats just not cool.
    I'm not saying I'm going to gank it, I'm just saying that it's not only common to borrow licks, especially in rock, blues, and metal, it's pretty much par for the course. In blues, it's usually seen as a compliment to use someone else's licks. If guitarists didn't do that, then every guitarist on the face of the planet would be 100% original, and everyone would sound radically different. And that damn sure ain't the case. You think everything you do has never been done before, that out of the millions of guitarists who've picked up the instrument, you play licks that not one single person has ever played?