Yngwie Malmsteen Guitar Methods

A helpful guide through Yngwie Malmsteen style. I includes loads of cool stuff.

39
I have many tricks was inspired by all the Yngwie Malmsteen. I have a lot of good ideas to offer. I am a big Yngwie fan and I have always been impressed by the "sweep picking" idea. Once you complete this leeson you will able to play really fast and sweeping like a true shred god. You must practise with a metronome and if you're patientent you master this stuff. If you find it hard slow it down or ask someone(it helps).
Key - A major
E |--5----------------|
B |----8-p-5----------|
G |----------7b/\5----|
D |----------------7--|
A |-------------------|
E |-------------------|
Sweeping Up With Arpeggios. A lot of you out there are probably looking to increase your speed as a guitarist. You can go right into playing songs by Steve Vai, Yngwie Malmsteen, and so on. But what good is learning a song when you can't play that fast yet? Well here are some arpeggio scales that may help you in a technique called sweep picking. My style may be unlike many people since I have learned it on my own but I hope that it'll help you in playing. When you play these be sure you follow the pick directions. Important! Be sure to start off slow and then speed up to warp speed. You will learn better this way. It would also help if you use a metronome. Start at around 50 or 60 bpm and move up to as high as you can go. Some of you may recognize that this is the piece that Ralph Macchio plays in the end of the duel between him and Steve Vai in the movie "Crossroads," the best movie in the world. I have a clip of the entire duel on my website separated into many different real audio files. Come check it out if you'd like. Sweep Picking Arpeggios
e |-----------------8-12-8----------------|
b |-------------10----------10------------|
g |---------5-9----------------9-5--------|
d |-------7------------------------7------|
a |-----7----------------------------5----|
e |-5-8--------------------------------8--|

e |-----------------7------------------|
b |---------------9---9----------------|
g |-----------7-9-------9-7------------|
d |-------6-9---------------9-6--------|
a |---5-7-----------------------7-5----|
e |-7-------------------------------8--|

e |-----------------7----------------|
b |-------------5-8---8-5------------|
g |-----------6-----------6----------|
d |-------5-7---------------7-5------|
a |-----7-----------------------7----|
e |-5-9---------------------------9--|

e |-----------------10-12-10-----------------|
b |--------------10----------10--------------|
g |---------7-10----------------10-7---------|
d |-------7--------------------------7-------|
a |---5-8------------------------------------|
e |-5----------------------------------10-8--|

e |----------------------------------------|
b |-------------------9-12-9---------------|
g |----------------10--------10-7----------|
d |-----------9-12----------------9-6------|
a |------8-11-------------------------8----|
e |-7-10--------------------------------7--|

e |-------------------5----8-5--12--8--16--|
b |---------------5-----5------------------|
g |-----------5-----5----------------------|
d |-------7-----7--------------------------|
a |---7-----7------------------------------|
e |-5---8-------------------------------0--|
Left Hand Warm Up. These two exercises will help you warm up your fretting hand. If you haven't already done so, please go do the "right hand warm-up" exercise on my page. The first exercise is really just a simple run in E minor, but it is a good warmup because it uses all four fingers and three strings. Repeat the lick over and over in a cycle. As before in my previous lesson, use a metronome and start slowly. You are not trying to be Yngwie Malmsteen with this. The main goal is to warm up your hands to prevent injury. I have had tendonitis in my left arm before, and it is bad news for guitar players! The second exercise is the same pattern, but the key is C minor, therefore the fingering is a little different. Don't forget alternate picking!
Key - E minor/C minor
Ex.1 (E minor)
E |-------------12----------15-14-|-12----12-------------------------|
B |----12-13-15----15-13-12-------|----15----15-13-12----------------|
G |-14----------------------------|----------------------------------|
D |-------------------------------|----------------------------------|
A |-------------------------------|----------------------------------|
E |-------------------------------|----------------------------------|

 Ex.2 (C minor)
E |-------------------------------|----------------------------------|
B |-------------------------------|----------------------------------|
G |-------------12----------15-14-|-12----12-------------------------|
D |----12-13-15----15-13-12-------|----15----15-13-12----------------|
A |-15----------------------------|----------------------------------|
E |-------------------------------|----------------------------------|
Half Tone Drill. I got inspired by Yngwie when I saw him on the Grammy Award in Sweden, he played a live solo for the audience and he played a drill sequence and I thought that I wanted to play something like that so I just drilled every halftone steps in the Harmonic A Minor Scale.
Key - A Harmonic Minor
|-12h13p12h13-------------|----------------------|
|-------------12h13p12h13-|-9h10p9h10------------|
|-------------------------|-----------9h10p9h10--|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|

|-----------------------|----------------------------------|
|-----------------------|----------------------------------|
|-----------------------|----------------------------------|
|-9h10p9h10-------------|----------------------------------|
|-----------11h12p11h12-|-----------------------------2----|
|-----------------------|-12h13p12h13-7h8p7h8-4h5p4h5-0----|
Beyond Inspired. This trick is inspired by a short drill in the song "Far Beyond The Sun" By Yngwie. When you can play it, try changing fingers to drill with each finger.
A Minor
|-----------12h13p12h13-----------12h13p12h13--|
|----------------------------------------------|
|-9h10p9h10-------------9h10p9h10--------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|

|---------10h12p10h12---------10h12p10h12--|
|------------------------------------------|
|-7h9p7h9-------------7h9p7h9--------------|
|------------------------------------------|
|------------------------------------------|
|------------------------------------------|

|---------8h10p8h10---------8h10p8h10--|
|--------------------------------------|
|-5h7p5h7-----------5h7p5h7------------|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|

|---------7h8p7h8---------7h8p7h8--|
|----------------------------------|
|-4h5p4h5---------4h5p4h5----------|
|----------------------------------|
|----------------------------------|
|----------------------------------|
Dim Arpeggios. Ok, here's a diminished arpeggio trick. The ending of the trick is much like the ending of a dim sequence in the song "Far Beyond The Sun" by Yngwie J. Malmsteen.
Key - C# dim
E |-------9-12-9-------------12-15-12-------|
B |----11--------11-------14----------14----|
G |-12--------------12-15----------------15-|
D |-----------------------------------------|
A |-----------------------------------------|
E |-----------------------------------------|

E |-------10-13-10-------------13-16-13-------|
B |----12----------12-------15----------15----|
G |-13----------------13-16----------------16-|
D |-------------------------------------------|
A |-------------------------------------------|
E |-------------------------------------------|

E |-------12-15-12-------------15-18-15-------|
B |----14----------14-------17----------17----|
G |-15----------------15-18----------------18-|
D |-------------------------------------------|
A |-------------------------------------------|
E |-------------------------------------------|

E |-------13-16-13----------------------------|
B |----15----------15-------------------------|
G |-16----------------16-13-------------------|
D |-------------------------15----------3-----|
A |----------------------------17-------4-----|
E |-------------------------------------------|

E |-------------------------------------------|
B |-------------------------------------------|
G |-------------------------------------------|
D |-4-----------------------------------------|
A |-4-----------------------------------------|
E |-2-----------------------------------------|
Warm Up. Ok here is my idea of a warm up program. It's made for practising the technics I most often uses and it may not be adapted to your playing style. But if you are a Yngwie wanna-be or into some speed/sweep/alternate/economy-picking this might be something for you.It's a really good thing to go through a list of warm up exercises before you play fast tricks and/or solos. It improves your playing. If you play something wrong every time you play it, it gets stuck in your head (the muscle memory) and than you will keep playing it wrong. Some of that effect could, of course, be prevented by warming up before you play. Tip for all tricks. Play through each exercise a couple of times so that you memorise it. Than increase the speed starting from a real slow pace. Always hold a steady beat, a metronome or a drum machine would be of great help. Don't play so fast so that your left and right hand go out of sync. If they do go out of sync, play a little slower for a while and than increase your speed. It's important to remain in sync. If you lose it the tones start ringing less clearly. Memorise the trick before increasing speed. Play them over and over again. Play slow at first and increase the speed gradually. Always hold a steady beat. Remain in sync, The tones should ring clearly. Warm Up Program. To Yngwie or not to Yngwie. This my attempt(s) at an Yngwie style ascending run. Lord knows how he does it, I certainly can't (use the force, and alternate picking).
Key - A minor
E |-------------------------------|----------------------------------|
B |-------------------------------|----------------------s-----------|
G |-------------------------------|---------------9-10-12/14ZYABLA~HUYABLAZYABLA~HUYABLA~----|
D |-------------------------7-9-10|-12-10-9-10-12--------------------|
A |-------5-7-8-10-8-7-8-10-------|----------------------------------|
E |-5-7-8-------------------------|----------------------------------|

Key - Chromatic Scale
E |9-------8-------7-------6------|
B |--8-7-6---9-7-6---9-8-6---9-8-7|
G |-------------------------------|
D |-------------------------------|
A |-------------------------------|
E |-------------------------------|
The bottom string should ring clearly until it's picked again! How do you learn how to do chromatic stuff? I have always just played notes at random for that effect, but I get limited results. Any suggestions? Well, the chromatic scale is based on halftones as you already know. So try to just play some halftones in a row! Here are two examples. I made the first example after some inspiration from Paganini. When you have played it all the way down you should play it backwards all the way up.
|-------------------------------|----------------1-2-3-4--------|
|-------------------------------|--------2-3-4-5----------------|
|-------------------------------|2-3-4-5------------------------|
|------------------------3-4-5-6|-------------------------------|
|----------------4-5-6-7--------|-------------------------------|
|--------5-6-7-8----------------|-------------------------------|
|6-7-8-9------------------------|-------------------------------|
I don't realy know who the author of the second example is. But I heard Yngwie Malmsteen plays it every now and then!
|------------------------|----------------------|
|-12-11-10-9----13-12-11-|-12-11-10-9---9-10-11-|
|------------12----------|------------12--------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
These examples should be played over and over again to increase speed. Trick 1. Here's a funny arpeggio idea. It's inspired by Yngwie but it's not Yngwie, it's me. Play it fast but don't let the notes ring into each other. You can tap the very last note (high A) for making it a really cool trick.
A minor
|-12p8---------------------------------------10--------------|
|------10-------------------------------9h12----12p9---------|
|---------9--------------------------10--------------10------|
|-----------10------------------9h12--------------------12p9-|
|--------------12-12~--------11------------------------------|
|------------------------------------------------------------|

A major
|----------------------------------------------9-12-17~------|
|-------------------------------------------10---------------|
|-----------------10-9--------------------9------------------|
|----10-9-12-10-9------12-10-9---------11--------------------|
|-12---------------------------11---12-----------------------|
|------------------------------------------------------------|
Trick 2. A simple trick, but it can be very difficult playing at fast speed. Yngwie Malmsteen plays it sometimes.
A minor
|-0h5p-0h7p-0h8p-0h10p-0h7p-0h8h10p-0h12-13-12-10-8-12-10-8-7-10-8-7-5-8-7-|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|

|5-4-5--12p8-----------------------0---------------------------------------|
|------------10---10---------------1---------------------------------------|
|---------------9----9-------------2---------------------------------------|
|----------------------10----10----2---------------------------------------|
|-------------------------12-------0---------------------------------------|
|--------------------------------------------------------------------------|
Trick 3. This is a Cm arpeggio. Use sweeping technics and play it fast. Yngwie Malmsteen plays it sometimes.
Key - Cm
E |--------5-8p5--------|
B |------6-------6------|
G |--5-8-----------8-5--|
D |---------------------|
A |---------------------|
E |---------------------|
Trick 4. This is what I use in one of my solos. It utilizes tapping and sweeping, along with speedy legato and acurate picking. This is influenced by Yngwie Malmsteen by use of sweep picking, influenced by Steve Vai by incorporating tapping, sweeping and legato and by John Petrucci by the use of fast picking in parts of this lick. Enjoy and play loud.
Key - A Dorian
E |-----------12-15-20\19-14-12-10|----------------------------------|
B |---------13--------------------|-12-10-8-10-19-10-19-8\7----------|
G |-------14----------------------|-------------------------7--------|
D |-----14------------------------|---------------------------7------|
A |12-15--------------------------|-----------------------------7----|
E |-------------------------------|-------------------------------8-5|

E |-------------------------------|---------0\12--8\12---12-17-29----|
B |---5-7-8-7-5------8-7-5--------|--------1----10-----13------------|
G |--5----------9-7-5-5-5-9-7-5-4-|-------2--------------------------|
D |-7-----------------------------|-5----2---------------------------|
A |-------------------------------|--5--0----------------------------|
E |-------------------------------|---7------------------------------|
Trick 5. This is very simply an example of an "E Minor" scale with a harmonic twist thrown in at the end. This is used frequently with artists like George Lynch and Yngwie Malmsteen. It sounds best when played very quickly!
Key - E minor
tap
E |----------12-13-15-17^18^17-15-13\12-------------------------------|
B |-12-13-15----------------------------15-13-12-10-------------------|
G |-------------------------------------------------12-10-9-----------|
D |---------------------------------------------------------12-10-9\7-|
A |-------------------------------------------------------------------|
E |-------------------------------------------------------------------|

E |-------------------------------------------------------------------|
B |-------------------------------------------------------------------|
G |-------------------------------------------------------------------|
D |-------------------------------------------------------------------|
A |-10-9-7-6-7ZYABLA~HUYABLAZYABLA~HUYABLA~---------------------------------------------------|
E |-------------------------------------------------------------------|
Trick 6. Rimsky-Korsakov (Flight Of The Bumble Bee) Chormatamania: Part I. It comes from Rimsky-Korsakov's composition "The Flight Of The Bumble Bee". It was named after the sound you get playing this song on the violin, for which it was written. Playing tips. Start off playing this lick slowly, the slower the better and get your technique down first, then increase the speed each day as you practice it. Pay attention to the left hand fingerings. Read John Lindgren's post on chromatics and do these exercises to help warm up for this lick. After you play these first 4 bars, you then play the same thing over at the 10th fret instead of the 5th fret!
Key - E
left hand
    1 4 3 2 1 2 1 4 1 4 3 2 1 2 3 4   1 4 3 2 1 2 1 4 1 4 3 2 1 2 3 4
E |---------------------------------|-----------------------------------|
B |-5---------6-5---5---------------|-5---------6-5---5-----------------|
G |---8-7-6-5-----8---8-7-6-5-6-7-8-|---8-7-6-5-----8---8-7-6-5-6-7-8---|
D |---------------------------------|-----------------------------------|
A |---------------------------------|-----------------------------------|
E |---------------------------------|-----------------------------------|
Beat: 1 e + a 2 e + a 3 e + a 4 e + a 1 e + a 2 e + a 3 e + a 4 e + a

left hand
    4 3 2 1 4 3 2 1 1 2 3 4 1 2 1 4   4 3 2 1 4 3 2 1 1 2 3 4  1  2  3  4
e |---------------------------------|-------------------------------------|
B |-------------------------5-6-5---|-------------------------------------|
G |-9-8-7-6-7-6-5-4-5-6-7-8-------8-|-9-8-7-6-7-6-5-4-5-6-7-8-10-11-12-13-|
D |---------------------------------|-------------------------------------|
A |---------------------------------|-------------------------------------|
E |---------------------------------|-------------------------------------|

94 comments sorted by best / new / date

comments policy
    kyle100
    [QUOTE=learninclutch] The best guitarists practiced over ten hours a day. I don't care who they were. Hendrix's guitar rarely left his shoulder. Same with all of your favorites. Nobody plays 3 hours a day and gets by on just talent! You actually think you can bypass all the practice and pain and become great with just talent. Who lied to you?[/QUOTE]He didn't say people became guitar gods through 3 hours of practice a day, he said if two people practiced for an equal amount of time every day for the same length of time, one of them would be better, due to natural talent. It's the same as sports, some people are just amazing at them naturally, other people are just terrible no matter how hard they try. While the person who sucks can train and practice for hours on end, if the naturally talented person trains/practices for an equal amount of time, the talented person will still be better. BTW, you're ****ing retarded.
    focus0serenity
    btw jason becker > malmsteen; wtf is natural skill? isnt skill defined by something u get by practice? theres only talent..
    focus0serenity
    i stuck just at the first Sweep Picking Arpeggios- Sweep: duno how to play the 10th fret on the b string; do i have to move up with my hand and play it with my middlefinger how what ~.~ and how to play it on the return---
    Zeldaik
    Im pretty sure theres such thing as natural skill. If not why can individuals pick up music much easier than some. For an example look at Mozart and other prodigies.
    Shaggadellicfuz wrote: Totally agree, except for the luck part. I'd replace it with dedication, obsession, natural skill, or hyper attentiveness. No such thing as natural skill! Or luck! Slash, Yngwie, and Steve Vai all got where they are by practice. They didn't pick up the guitar one day, play a couple notes, and start shredding. They might naturally have very dexterous fingers that are able to move quickly from fret to fret, but that can be learned through conscious and muscle memory.
    Mad Hatter 4567
    guitar_freakgr wrote: malmstreen sucks . he was good once but now he always masturbates on guitar . loomis can kick his ass for sure
    Retard. =D
    Mad Hatter 4567
    Dude, Loomis eats Yngwies nuts, all loomis does is sweep and occasional chicken pickin, Yngwie is all out shred, classical, neoclassical, Swedish axeman. So go cry to mommy that someone said Loomis is terrible, listen to something other than burp metal.
    rexreeper99
    Shaggadellicfuz wrote: No such thing as natural skill
    I disagree. Some people do have a tallent with a guitar and master some things faster than other people. If a talented person and a less talented person were to start playing guitar at the same time and each one practices for lets say 3 hours a day the more talented person will be better. if being a master player required no natural talent then there would be more people that are guitar masters.
    STOJDub
    tekee007 wrote: im pretty sure its "trill" not "drill" lol
    Shit,that totally makes more sense. On another onte,anyone know how to patch hoels in your neck?
    Bringroftorture
    MalmsteenIsGOD wrote: Yngwie does not masturbate on the guitar. He rules the guitar. Nobody can touch him. Petrucci is awesome but still doesnt stack up to the speed and flawlessness of Yngwie's technique. Michael Angelo Batio failed so much, he wrote a song that is named "Yngwie can't touch this." What the **** is that all about? BTW great lesson man. Far Beyond the Sun is amazing.
    WTF dont say that about MAB ever again! great lesson btw
    kdommasch
    ****en you a joke u need theory and alot of practice sure u could play random exercise and sound like your good or learn it the right way and be really good
    rocker_01
    last_biscuit wrote: Neebster wrote: thats not seven strings you idiot thats the 1234 count Yep, he's a complete idiot...oh wait that's...seven strings...in the two examples between 'Warm-up Excercises' and 'Trick 1' So yes...who's the idiot now?
    Nailed 'em!
    MalmsteenIsGOD
    Yngwie does not masturbate on the guitar. He rules the guitar. Nobody can touch him. Petrucci is awesome but still doesnt stack up to the speed and flawlessness of Yngwie's technique. Michael Angelo Batio failed so much, he wrote a song that is named "Yngwie can't touch this." What the **** is that all about? BTW great lesson man. Far Beyond the Sun is amazing.
    guitar_freakgr
    malmstreen sucks . he was good once but now he always masturbates on guitar . loomis can kick his ass for sure
    Flamin' Mania
    STOJDub wrote: tekee007 wrote: im pretty sure its "trill" not "drill" lol Shit,that totally makes more sense. On another onte,anyone know how to patch hoels in your neck?
    melted cheese does the job...also good with nachos. I'd like to hear Yngwie play grunge, get some slop on those solos!
    orchidguitar
    Markus93 wrote: Yngiwe is not that good he knows some theory but all he does is shred it gets boring. Most people get out of that phase not yngiwe he just goes up the neck then down then up then down. booorrrriiiinnnngggg.
    u sir, are definitley a green day fan
    2guitargod4
    its called a trill not a drill and the first sweep exercise is taken straight from the crossroads duel and is definetely not a good starting point for beginners. 5/10
    beans45344
    Zeldaik wrote: Those so called sweep arpeggios are just the arpeggios used in Steve Vai's "Eugene's Trick Bag." And Steve Vai doesn't sweep those.
    either way its an arpeggio that can be used in more than one song, and yngwie does sweep those so it makes it different than than steve vai's version
    beans45344
    Shaggadellicfuz wrote: Totally agree, except for the luck part. I'd replace it with dedication, obsession, natural skill, or hyper attentiveness. No such thing as natural skill! Or luck! Slash, Yngwie, and Steve Vai all got where they are by practice. They didn't pick up the guitar one day, play a couple notes, and start shredding. They might naturally have very dexterous fingers that are able to move quickly from fret to fret, but that can be learned through conscious and muscle memory.
    well duh no guitarist simply picks up a guitar and starts shredding, but malmsteen was playing the kind of shit he plays now, when he was 17. whether or not you like it big deal, this tab is about yngwie so lets try to stop bitching about all this shit since you probably aren't worth a shit on guitar anyway
    Markus93
    Yngiwe is not that good he knows some theory but all he does is shred it gets boring. Most people get out of that phase not yngiwe he just goes up the neck then down then up then down. booorrrriiiinnnngggg.
    Markus93
    Sheenhead : THE ULTIMATE SECRET! The human hand is a constrictive machine. It is poorly designed when it comes to reflex actions. (number of flexors compared to extensors)Snap your hand open and closed and feel the difference. The secret to speed is to play with the least amount of effort you can and still correctly chord or fret the note(s). The delicate muscles take longer to relax the harder your work them. This delay cost you speed and smoothness. Two great hand workouts: 1)Place your hands between the cushions on your coach and spread your hand open and then place your fingers in and spread them open. (you will figure it out) BE VERY CAREFUL!! this can be straining to your fingers. These hand workouts increase the muscle mass and tone that control your finger release movements. Place your right hand on your left wrist(about two inches above your wrist) now open and close your hand. Feel those muscles? Those are your extended flexors. VERY IMPORTANT to guitar players. Rub them for 5 minutes before you play and feel the difference. Hand and wrist care are the most overlooked aspect of guitar playing and especially if you want to shred. I will post again about how to "groom" your fingertips for speed. u know waht else is a good hand workout hahaha
    axeslinginghero
    idiots argue alot.... this is a great lesson man thanks for posting... people that say it sucks should write a effin' lesson theirself.
    Sheenhead
    THE ULTIMATE SECRET! The human hand is a constrictive machine. It is poorly designed when it comes to reflex actions. (number of flexors compared to extensors)Snap your hand open and closed and feel the difference. The secret to speed is to play with the least amount of effort you can and still correctly chord or fret the note(s). The delicate muscles take longer to relax the harder your work them. This delay cost you speed and smoothness. Two great hand workouts: 1)Place your hands between the cushions on your coach and spread your hand open and then place your fingers in and spread them open. (you will figure it out) BE VERY CAREFUL!! this can be straining to your fingers. These hand workouts increase the muscle mass and tone that control your finger release movements. Place your right hand on your left wrist(about two inches above your wrist) now open and close your hand. Feel those muscles? Those are your extended flexors. VERY IMPORTANT to guitar players. Rub them for 5 minutes before you play and feel the difference. Hand and wrist care are the most overlooked aspect of guitar playing and especially if you want to shred. I will post again about how to "groom" your fingertips for speed.
    Zeldaik
    Madhur Damn wrote: Sweeping takes years...I doubt one lesson will get you there.
    Sweeping's not that hard it just takes time to effectively sweep.
    Zeldaik
    Those so called sweep arpeggios are just the arpeggios used in Steve Vai's "Eugene's Trick Bag." And Steve Vai doesn't sweep those.
    lilrockster84
    hey that one lick you don't know the original author to sounds like flight of the bumblebee. Nicolai rimsky-korsakov
    Drex088
    asdfghjkkkkkhgfffffytcgfrdfgdgdgdddgdgdgdgd hn b bnbnnvnvnvnvnvnvnbnnnvnvnvnbnbnbnbvnbvnbvhgfhggg nhbvjhgfljjjjjfhlfffffljkh kjh fhf
    learninclutch
    The best guitarists practiced over ten hours a day. I don't care who they were. Hendrix's guitar rarely left his shoulder. Same with all of your favorites. Nobody plays 3 hours a day and gets by on just talent! You actually think you can bypass all the practice and pain and become great with just talent. Who lied to you?
    NOnamesLEFT
    i like those exercises but they could have been tabbed better oh and dont u use hammer ons and pull offs in ur playing? and arent some of these 'tricks' in different scales?
    ooblah
    Guitargod12345 wrote: If you want to truely learn yngwie's guitar method, learn how to read and practice Bach Pieces
    And paganini's..=] amen to that..Vivaldi is also good to learn.
    Lrn2play
    yea but u shouldnt get a whole technique off one source, u should see other styles and stuff from other people