Results for: lead

In this tutorial I will get you started with metal lead playing. I will go through what I consider to be important parts of great lead playing, and we'll play a slow-paced metal solo that isn't too advanced technically, over an Em to D chord progression.

When playing a slow rock lead, tone is important. In this lesson, I play the lines with heavy effects. There is a thick, creamy distortion and reverb. Most importantly is delay. The delay has six to eight repeats. This thickens the note you play and allows it to sound sustained for a short time after you've stopped playing it. When this effect is in the entire mix of music, the repeats of the delay aren't obvious and the effect is quite nice. Notice that the actual phrase that I play does not involve playing many notes at once. I milk one or two notes at a time to cre...

Guitar Tricks 86: Tasty blues lead is the theme of this weeks lesson. Neal shows you one of his favorite licks using the voicing of the 6th 7th and 3rd notes over a B Major chord. The tip of the week is from Ben and it will have you thinking of your music in a whole new way!

Spice up your lead playing with the oldest trick in the book, using the major 3rd. This is a classic blues rock sound and this week Neal shares three of his favorite licks using these tasty notes. You'll immediately recognize the sound. Take one for a test drive!

The tune vamps on the last chorus and features a lead guitar providing some scorching 2 bar fills. All of these licks are in the 5th position using the A minor pentatonic scale and A minor scales. Be sure to really slow down these licks and practice them slowly, they can be tricky to get under your fingers up to tempo!

In this tutorial we will learn to play a basic 12 bar blues in G major in an early rock and roll style that combines and alternates between power chords and basic, beginner lead fills. The basic rhythm part is in triplet swing time. The form is a 12 bar blues. The rhythm riff chords we will use are actually diads; two note groupings. We will play G5 & G6 for the I chord. Then, we will play a lead fill, a "lick", that combines bending a note on the G string, then playing another G5 diad on the upper strings. We'll move the riff and lick around to the IV and V chor...

This time we are going to learn and add our lead fill. This lick or fill is a stereotypical lick that involves a bend followed by a double stop; a diad on the top two strings. The mechanics of this lick are probably the hardest thing for a beginner to get used to. You really have to grab that G string and bend it up and out of the way. The best way to do this is to move your thumb to the top side of the neck and grab the edge to oppose the pressure of your ring finger bending. This gives you the leverage necessary to bend and hold that note! After the bend, ...

Now we have the basic idea in place, alternating between rhythm chords and lead fills in a blues style! We are ready to move the same idea around the fretboard in order to play the C (IV) chord riff and fill and the D (V) chord riff and fill. At the end of the whole pattern we play our single note turnaround line. And as a fill we will play a D augmented chord. This is a great little trick to make that melancholy, off-kilter sound that so many early rock and roll players used! They got this chord from jazz and big band swing tunes. But playing it on an electric g...

Now we have all the pieces of our G Blues combining rhythm chords and lead fills. Let's give it a try! In this lesson I play all the way through the form slowly. This first time we just want to try all the pieces in the right order. Take your time and get each part right. Eventually, you will be ready to try to play it in time all the way through without stopping!

In this lesson I am going to add more to the lead fill. So, instead of playing the eighth note triplet swing pattern, we will play the doublestop on two of the triplets. Now we are playing on all three triplets of the beat!

In this lesson we will play our new improved G blues along with a backing track at 120 BPM. If you liked this tutorial, teaching you how to alternate between rhythm riffs and lead fills, then you might also enjoy these similiar tutorials that use the same approach. E Blues Rhythm & Lead: Series 1 E Blues Rhythm & Lead: Series 2 B Blues Rhythm & Lead Series 4 Happy blues rhythm and lead playing!

In this lesson we're gonna breakdown the intro riff that the two lead guitars harmonize. First we're gonna look at a clip from that section so you can hear how it sounds, then I'm gonna show you how it's done and finally play through it at a slower tempo so you can play along.

This week on the channel Neal shows you his tricks to adding a groove to your lead lines by accenting beats. Using some simple palm muting and vibrato you can take a regular pentatonic scale, or any scale, and make it come to life with this concept.

After two repetitions of the chord progression there is a great melody divided into two over the last two repetitions of the intro. It is really a lesson in rock n roll lead playing with great taste! Based out of F# minor scale it has a really cool vibe and feel, be sure to pay attention to the vibrato techniques used in the lesson. You don't want to work your vibratos from your fingers because it just doesn't provide enough control, you also DON'T want it to come from your arm or elbow, you want your vibrato to come from the wrist and feel natural and controlled, like a...

When listening to a harmonized lead it's usually quite easy to hear the top note of the two parts, as it usually forms the melodic part of the harmony. This would be the part you’d be whistling in the shower. So let's think about the upper part of the harmony. I played it beginning with the E note at the ninth fret of the third string with the second finger, using a two fret stretch between the first and second fingers then landing the third finger at the tenth fret of the fourth string for the C, then jumping the third finger over to the A note at the tenth fret o...

As I alluded to in the previous chapter, it can be easy to hear the top note of a harmonized lead. So it can be daunting to figure out the lower counterpoint notes of a harmony. In the case of the "Can't Get Enough" dual lead the lower note of the harmony lead starts with C C Bb C Bb A F F Eb, against the C-Bb-F chord structure of the verse. Then it does a root-V-b7 riff against the G chord, then landing on the root of the Bb chord. It then goes into the C-F progression on the chorus. In this part the lower harmony makes use of the phenomenon in blues harmony where i...

As far as Steve's lead playing goes, he's a great guitarist to study for all of the signature rock 'n' roll licks and how to bring them into a heavier context. He's very fond of the Chuck Berry-esque unison string bend, and the also using the unison string bend into the first and fifth of any given chord. Another Chuck Berry-ism in Jones' playing is the two string or "double stop" Blues lead built around the minor pentatonic scale. Another trademark of Steve's lead playing is that he tends to use arpeggiated chords, particularly the D form for melodic emphasis. Here we...

Here we look at the role of the lead guitar. Let's start with the opening melody, which is where the first main song theme is stated, almost in a counterpoint to the melody we went over before in the backing guitar. Playing lead guitar with a clean tone requires some different approaches to when you have a dirty tone; the sustain is typically less and the attack is more pronounced than when you have a higher gain sound that sort of smoothes everything out. This also makes finger vibrato more important to create sustain. Also, when playing lead with a clean tone to hamme...

Hi all, this is Ry Kihn for Guitar Tricks, and in this tutorial I'll talk about switching major and minor pentatonics in a solo. I'll put this in a context of blues and southern rock style soloing in the style of B.B. King, Robben Ford, and The Allman Brothers.

Break out of the pentatonic box with these soloing secrets used by the best guitarists. This simple concept will elevate your soloing to a new level using chords you probably already know. Tip of the Week: Take no toll on your tubes with this tip!

A lot of people use way too much distortion when they solo, especially when playing metal. With too much distortion everything turns to mud and there's too much noise to decipher what notes you're actually playing. I usually use an overdrive pedal in combination with my amp gain, or two overdrive pedals with a clean amp.

Let's start by establishing a simple rhythm riff to use. We'll use a basic 12 bar blues I-IV-V form involving 3 chords: G5 (I), C5 (IV) & D5 (V). The basic rhythm part is in triplet swing time. The chords we will use are actually diads; two note groupings. We will play G5 & G6 for the I chord. Then, a C5 & C6 for the IV chord. Then, a D5 & D6 for the V chord. Then we'll play a simple single note turnaround that outlines the overall motion from G to D at the end of the form. Then, we'll start the whole thing over again.

This time we will take a closer look at the picking hand motions. Lightly place the side of the palm of your picking hand on the strings near the bridge. We are after a slightly muted sound; a palm mute. You don't want to choke the strings fomr ringing out completely. But we don't want to let the strings ring out completely. This can be tricky thing to get used to, finding the right balance between too much muting and not enough. You can start by note even worrying about muting, then gradually add a bit of muting if you want! Slightly varying the amo...

In this lesson we will play our new G blues along with a backing track at 80 BPM.

The solo functions in one of my favorite scales. It is G phrygian with a major third or B natural. This mode, sometimes called spanish phrygian, gives the solo kind of an exotic flavor. The addition of bends and stylized trills make this a very fun and tricky solo. Let's learn it! The last note of the solo sustains throughout the third verse with the use of a delay loop.