Let’s begin with a very simple picking exercise (FIGURE 1) and look at some of the neat and musically interesting variations you can spin from it. USING ALTERNATE PICKING AND NOTE SKIPPING TO PLAY INTERESTING ARPEGGIO PATTERNSĬhapter of Shred Alert, where I’ll teach you many of the techniques I use. The blessings and benefits of live performance 2 SNAKE-CHARMING LICKS The fifth mode of harmonic minor
#PAUL GILBERT SHRED HOW TO#
How to organize patterns on the fretboardĩ. ACCENTUATE THE POSITIVE Alternate picking with accent patternsĪlternate-picked 16th notes-the business card of shred guitar Using position shifts to your advantage when soloingĥ. READY TO RUMBLE, PART 2 More pick-hand warm-up exercises Quick, effective pick-hand warm-up exercisesģ. I kick in a delay after that, to loop it, and then I go into the moving-capo part.Using alternate picking and note skipping to play interesting arpeggio patterns I’ve got three E strings and a capo at the 8th fret, and I start with a C minor arpeggio with a tapped slide on top.
I could demonstrate “Get Out of My Yard,” using my friend Mike as the human capo.
You’ve said that you made an all-instrumental CD because you wanted to unveil “kick ass guitar licks no one has heard yet!” Can you walk us through some? Read on for a feast of pick-melting, tendon-tearing moves, as well as some more nuanced approaches and even a few riff-writing concepts. Thanks to a rare hole in Gilbert’s schedule (he’s recently married, and spends much of his time in Japan, where he serves as honorary dean of the country’s eight Musicians Institute branches), we were able to rap with him about his new record, and even hit him up for a monster lesson. I did the same thing with ‘Hurry Up,’ which is very influenced by Rush.” “ ‘Full Tank,’ for instance, is almost like my audition song for the Black Crowes. “Sometimes I’d think of a band and fantasize about joining it,” he says. While this particular track might scare off those with a low tolerance for notes, the album as a whole is firmly rooted in rock - from roots to progressive, punk to metal - due largely to Gilbert’s writing process. Gilbert wastes no time making this statement, opening Get Out of My Yard with a blistering unaccompanied guitar solo. So it’s a bit of me wanting to claim my own piece of the art form - to yell at everybody else, in a tongue-in-cheek way, ‘Get out of my yard! I’m doing it my way!’” The album’s title reflects Gilbert’s musical mindset: “Guitar players tend to be territorial and competitive. So I figured that, before I condemn all-instrumental guitar music, I should at least give it a try - see if I could make a record that not just guitar players but also regular rock fans would enjoy.”” “At the same time,” he continues, “because I am a guitar player, I have ideas that don’t necessarily fit the format of ‘vocal’ music. So when I became a solo artist, I wanted to be a singer, too - still have intense guitar, but in the context of a band. I like my guitar players with singers: Eddie Van Halen with David Lee Roth, Randy Rhoads with Ozzy, Jimmy Page with Robert Plant. I liked ‘Satch Boogie’ and the instrumentals Rush did, but players who gave up on being in bands to focus on guitar didn’t interest me as a fan. “I don’t really like instrumental guitar music,” Gilbert admits, “and I rarely listen to it.
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