Shred Academy – Free Guitar Lesson by Niels Vejlyt
Alternate
Picking Lesson
By
Niels Vejlyt
Here
is a alternat picking lick in F# minor. I think it’s a good workout
for the left hand, and there is many small jumps for the pick.
Also when you reach the arpeggios, notice that I play alternate
picking on the first F# minor arpeggio, on the low E string. The
same happens on the next arpeggio on the A and the low E string.
Have fun with it, its a great picking exercise, and remember to
practice it with the metronome. Practicing this lick with a metronome
is important because playing three notes per string, can easily
make it sound like sextuplets, so practice it playing sixteen
notes
Good luck
Regards,
Niels Vejlyt
Shred Academy – Free Guitar Lesson by Niels Vejlyt
Slide
Tapping Lesson
By
Niels Vejlyt
This
lick is F sharp minor, and it uses the following techniques: hammer
on, pull off sliding and tapping.
As you can
see in the video I tap with my long, ring and little finger, and
hold the pick with thumb and index finger. If you dont have 24
frets on your guitar you can transpose it to E minor. What you
have to look out for in this lick is noise while you tap with
three fingers, remember to use your right palm to mute the strings.
Shred Academy – Free Guitar Lesson by Roo
Switching
Rhythm to Lead Guitar
By
‘Roo’
LEVEL:
Half-Beginner/intermediate
When i started
out with the guitar I was particularly impressed by those great
guitarists who played cool riffs and suddenly start a jaw-dropping
lead and then go back to the rhythm riff perfectly in time. How
do they do this?
After years
of practice I understood that they basically know how many notes
they will play per beat. And they play licks that fit with the
tempo and fill for one, two or for four beats.
So this is
an exercise for practicing lead and rhythm guitar.
Here we have
to focus on 4 bars (4 beats/bar). We play 3 bars of rhythm guitar
with the very simple A5 chord. The last bar we fill with lead.
We have 4 beats to play whatever we want. I’ve chosen to
practice two different licks. The first one is 16th notes mix
and the 2nd one is Am harmonic scale triplets.
Learn the
licks, and once you feel ready, play them into the rhythm. Once
you feel cool, start with the 2nd rhythm pattern for a realistic
riff. At the end I show how I feel the idea with an example in
Am harmonic scale. (A-B-C-D-E-F-G#)
I play 1
bar of rhythm guitar and 3 bars of lead. I know exactly the number
of notes I play so that I’ll be back in time on the first
beat of the 1st bar. I palm mute (picking hand) some notes to
add dynamics and accents. This is not the point of the lesson,
so feel free to play it your way.
The tempo
in the video is 116 bpm. Start at 90bpm or as slow as you need
to. This exercise is totally useless if you don’t practise
it with a metronome or a drum box. The metronome won’t stop
for you if you miss the last notes. The goal is to play both rhythm
and lead IN TIME.
CLICK
HERE FOR THE TAB (.gif)
Shred Academy – Free Guitar Lesson by Roo
Mini-Canon
Sweeping Lesson
By
‘Roo’
CLICK
HERE FOR THE AUDIO (.wav)
Welcome
to this sweeping lesson.
Inspired by Johann Pachelbel, The mini canon is my adaptation
of the famous chords progression. If you are a new comer with
sweeping technique this is the right lesson because it’s
melodic, sounds great at any speed and also because it’s
a classic so you have to know it!
On
each chord goes a 16th triplet’s group of notes. Each group
of 16th note is the very arpeggio taken from the chord. So you
find the same notes. Everything is played over 5 strings.
What is an arpeggio?
An arpeggio is the notes of a chord played separately (one after
each other). For example: you can play a chord with open strings
and let ring each note or chose to fret each note on a different
place on the fingerboard.
What
is “sweeping”?
“Sweeping” is a technique where you pick each string
“downstroke” for ascending and “upstroke”
for descending. Once mastered, this technique allows to play quite
fast.
Notice that it is important to play each note separately then.
The 1st note must stop rigging when the 2nd note starts and so
on.
That’s why it’s difficult at beginning. It’s
a matter of synchronisation between the pick and the left hand
(fingerboard hand).
So I advice to practice palm mute at the beginning by muting the
strings at the bridge with your right hand’s palm so that
the sound of each note keep under control.
The
“mini Canon”:
Those arpeggios here are made of 3 sounds or notes. Major(1st-3rd-5th)
and Minor (1st-3rd minor-5th)
Basically you have to learn one position for the minor and one
position for the major to be abble to play it.
What I find interesting in this exercise is that it uses different
posibilities of fingerings.
Lets scheddule those 2 bars in 8 sections (1section/chord). [2majors,
2 minors, 4 majors] with 4 differents arpeggios positions. Those
4 positions are the most overknown positions in Shred style simply
because they are the easiest ( or less challenging) to play and
are very used in neo-classical music.
There a countless variations possibles then but (IMO) it’s
good to start with those ones.
1-
E (major) upstroke and pull-off, upstroke, upstroke, upstroke,
upstroke.
2- B (major) Downstroke and hammer on, downstroke, downstroke,
downstroke, downstroke
/!On fret 16th (D/G/B strings) play with the lefthand 2nd finger.
Its difficult to play notes separately then.
3- C# (minor) upstroke and pull-off, upstroke, upstroke, upstroke,
upstroke.
4- G# (minor) Downstroke and hammer on, downstroke, downstroke,
downstroke, downstroke
/! On fret 14th (G/B strings) play with 3rd finger.
5-
A (major) same than for the first E section but starts on the
12th fret.
6- E (major) same than for B section but starts on the 7th fret.
7- A (major) same than for the first E section but starts on the
12th fret.
8- B (major) same than for the first E section but starts on the
14th fret.
Memorize all the notes and practice very, very slowly at beginning.
Then practice with metronome at slow speed. Remember to play 6
notes/beat for 16th triplets. Don’t mistaken playing fast
and rushing notes. You must hear each single note, not only the
first and the last. Practice with crunch or clean sound at beginning.
I hope you like this lesson. I want to thank this great website
for hosting this free lesson. Don’t forget to bookmark my
web site!
www.rooguitar.com
Roo
has released and instructional
DVD available now in the Shred Academy shop, as well as pioneered
the new creative guitar software called ‘66
Licks‘ also available in the shop now. He is currently working
on other guitar methods coming soon.
Shred Academy – Free Guitar Lesson by Fredrik Pihl
Now
you C me, now you don’t!
By
Fredrik Pihl
CLICK
HERE for the tab (.jpg)
Playing
and practising scales….. either you love it, or hate it.
But wether you like them or not, you can’t escape the fact
that all solos and melodies are based around a scale of some kind.
In
this lesson I’m not going to tell you how to alternate pick
your way through a scale as fast as possible, ala Yngwie Malmsteen.
There are plenty of other lessons that will cover that. Actually
this lessons won’t contain any fast playing or shredding
at all, so BEWARE!
Usually
when playing a fast run on the neck, players tend to alternate
pick their way through a scale at a fast tempo. Listen to players
like Paul Gilbert and once again Yngwie etc. I am a big fan of
both mr Gilbert and mr Malmsteen. But sometimes I get pretty bored
when I hear solos like that. It’s just a scale being played
from top to bottom (or the other way around) incredibly fast.
Of course it sounds awesome, when you burn your way up a scale,
but most of the times it sounds like a scale…. And nothing
more. Not very musical or exciting in my ears.
In
this lesson I have tried to give some examples on how to play
scales, but make them sound a bit less ”scale sounding”.
All the examples are based around the C-Ionian (major) scale.
And I’m connecting the notes as usuall, one to the next,
to the next etc.
However, I have changed the octaves a bit to make it different
and more outside – sounding.
Look
at the examples in the transcription to see what’s happening.
Once you fooled around with these examples, try to incorporate
the ideas to other scales as well.
And most of all, have fun with it.