Alternate picking is an essential technique for a lead guitar that wants to play shred lick fast and accurately. This post is designed to give you some insight into this technique and how it can be applied to shred licks.
I get the idea of this lick from the song Far Beyond The Sun by Yngwie Malmsteen. Is based on an F# harmonic minor, and at beginning of the lick, Yngwie Malmsteen plays the scale in groups of 4 notes.
Playing the scales in groups of 4 notes is an amazing exercise for improving your alternate picking. At the same time, you can develop a lot of phrases and ideas for your composition and improvisation.
I played an F# minor arpeggio on the last section of the lick using the sweep picking technique. I did this to give you guys an idea of how we can mix alternate picking with other techniques.
In my Skype guitar lessons, I always expand the licks and sequences in all different shapes of the scale. With different systems like 3 notes per string, and the caged system.
By doing it you’ll be able to see all the options and to play the lick everywhere at the fretboard.
How To Practice
The first step to practice this lick lesson is, memorize the entire lick and play slow. Make sure that you can hear all the notes when you play, just from that, you can start to speed that up.
Neoclassical Metal Guitar Lick in F# Harmonic Minor Scale. For this lesson demonstration, I create this lick based on the idea that I learned from the song Far Beyond the Sun by Yngwie Malmsteen.
I strongly recommend you guys to check the album Rising Force by guitarist Yngwie Malmsteen, released on 5 March 1984.
Not just Yngwie Malmsteen but Al Di Meola, Ritchie Blackmore, Michael Schenker, and many others guitar players, have been using the same kind of pattern over the scales to create these baroque / neo-classical ideas.
The Technique – Alternate Picking
As you notice I play the lick using the alternate picking technique. Actually, the lick itself is an amazing exercise for improving your skills on the alternate picking technique.
Another thing you can do to improve your alternate picking technique, even more, is transposing the lick to the other shapes of the scale.
On my Skype Guitar Lessons. I used to teach my students how to improve a lick like that to the next level.
We work together to learn the lick, understand the pattern/sequences/fragment, and create a practice routine over the 7 shapes of the major/minor scale.
That helps a lot to internalize more the technique, and at the same time doing it will improve your ability to create your own licks and phrases to improvise, etc …
Gear Used On Metal Guitar Lick in F# Harmonic Minor Scale – Yngwie Malmsteen Joe Stump Style:
Metal Shred Guitar Licks is a song that I did for my students to have some fun and at the same time learn some heavy metal shred guitar licks.
Most of the licks are in the style of Michael Schenker, Yngwie Malmsteen, Paul Gilbert, Vinnie Moore, etc…
I’ve tried to give you guys licks that exploit different techniques like alternate picking, legato, string bending, and sweep picking.
I strongly recommend you to learn and memorize the entire song first. After that make sure that you’re playing all the phrases clean and accurate.
Just from that position, you’ll start to work on the speed up at.
I know everybody talks the same about this … but remember is a muscular situation here, you need to create muscle memory first.
Once you have the muscle memory means (playing the whole thing nice and easy) speed up will be easier.
The lead guitar is over the Bm pentatonic scale, B Natural minor Scale(D major Scale), and Bm triads. Most of the time I’m trying to target the root note (B). Since the track is in the key of Bm.
It’s a very common resolution for this music style. You can play some licks by resolving on the root of the key, in our case root(B). The emphasis is on you to learn to improvise by playing with the right spirit while staying within specific guidelines.
Of course, you can apply the same resolution idea for each chord change. But to keep things simple I just follow resolving and targeting at the root of the key (B).