Good golly miss Molly this solo is one of my all time favourite Marty Friedman solos and is just an amazing solo in general. I heard in an interview with Chris Broderick he had a bad time learning this... I also had a really bad time, because some of it is stupidly hard... But I got there in the end. The first 4 sections are not too bad and quite manageable. However sections 5 & 6 and an absolute grind.
As usual I've attached a video and also I've broken the lesson down into sections and tips on how to deal with each of them. Keep in mind that this solo is in 'B' minor so there'll be pentatonic and diatonic scales as well as arpeggios relative to this key throughout the solo. Just have a bit of key signature awareness can make a small amount of difference I've found.
Section 1 Tips:
This section isn't technically too draining but it's one of my favourite sections in the piece. The phrasing of the bends and slides are crucial to this section. If you can slow down the solo (I use a program called Audacity) really try hone in on when the bends are being bent in and out of shape.
Section 2 & 3 Tips:
These 2 sections take place a lot around a "B" minor arpeggio:
There's obviously a few extra notes that Marty adds in to make the phrases more interesting, but I think it's important to familiarise yourself with "meat and veg" arpeggio shape first. Much the same as in section 1, hone in on bends and sliding phrases. With the acceptation of a sweep here and a light trill there, the arpeggio phrasing is basic quavers.
Section 4 Tips:
This section starts of pretty manageably in a straight "B" minor pentatonic then some pretty intense arpeggios occur. In the diagram below we see a F#7(b9) arpeggio sliding into a A#diminished.
It's crucial to take notice of where hammer ons, pulloffs, slides and legato slurs occur in this phrase. You can't do a direct/conventional sweep like you would do on an arpeggio that is mostly one note per string (i.e. "B" minor from sections 2 & 3). In this case you'll be mixing a small amount of alternate picking and mini sweeps while your fretting hand takes care of the legato and slides. Be patient with this section as this phrase has ruined many a man!
Section 5 Tips:
This section works with very fast 2 string arpeggios with pulloffs. There was a little pattern was going through my head as I was learning this section. Once you get your head around it, it's very useful as that same rhythm/pattern carries over quite a few shapes in this section.
The pattern goes: Pulloff, Pick, Pick, Pulloff, Pulloff, Pick, Pick, Pulloff, Pulloff, Pick, Pick.
Obviously you'll need to play the first note of each pulloff, but saying that pattern while I was practicing helped me keep a pulse and rhythm.
Section 6 Tips:
This section was the hardest to figure out. No good tabs or internet covers! SO I knuckled down... For a while. There's quite a few quick triplet pulloffs in this final section but nothing too out of the ordinary if you break it down slowly. I really like the descending run with the flat fingers. It does feel weird and I don't see many players other than Marty Friedman do it, however it's got a cool sound and flavour to it. Be patience and work through those phrases slowly. The solo rounds off simply around a rocked out "B" minor pentatonic and then works into a few harmonic minor runs with some chromatics here and there. Unfortunately those patterns are a bit strange and unpredictable and are played in semi-quavers (16th notes), which is pretty friction' fast!
Be patient and enjoy the Friedman, melodic and winnish ride.
Download tab here.