Basics of Metal Guitar Lesson

Chapter 1: (00:58) Intro to Metal Welcome to Phase 2 Metal Guitar with Dennis Hodges!

For more information about Dennis, check out his biography in the "Instructors and Staff" section.

Dennis kicks off his first metal guitar lesson by previewing concepts that will appear throughout this series. He begins with his philosophy regarding the compositional structure of most metal music.

The vast majority of music in the metal genre is composed around a series of riffs. A riff is a rhythmic motif comprised primarily of single notes and/or power chords. The lack of full triadic harmony distinguishes the riff from the chord progression. This compositional feature of the metal genre sets it apart from the jazz and folk styles, which are melodically driven.

Dennis introduces essential concepts that will be presented in this lesson series. You will begin your metal guitar journey by learning the note names on the fretboard. Then, you will develop technical facility with the aid of many coordination and strength building exercises. Dennis will help you master key components of the metal genre such as power chords, riffs, single note melody lines, picking patterns, solo techniques, and rhythm concepts. Finally, you will learn music theory concepts such as intervals and scale relationships. Chapter 2: (04:41) Notes and Metal In order to play metal, you must first learn some concepts that are essential to all styles of guitar playing. A musician's journey always begins with learning the note names and their locations on the instrument. This is true regardless of which instrument he/she plays. For this reason, you must begin your guitar training by learning basic fretboard concepts.

Intervals

Every distance between any two given notes in the musical alphabet is measurable. The distance between two notes is called an interval. The smallest possible interval in the musical alphabet is referred to as a "half step." The whole step is also called the minor second or semitone. On the guitar, adjacent frets are said to be one half step interval apart from one another. For example, the first and second frets are one half step apart.

The second smallest interval is the whole step. This can also be called a tone or major second interval. Two half steps comprise a whole step. Thus, a whole step interval spans two fret markers on the fretboard. Or, for example, the first fret is a whole step below the third fret.

The musical alphabet consists of seven letter names. These letter names infinitely reoccur in the same pattern forwards as well as backwards. In other words, the white keys on a keyboard keep repeating in this pattern: A, B, C, D, E, F, G, A, B, C, etc. The distance between each pair of adjacent notes can be measured in half steps and whole steps. It is VERY important that you learn and memorize the distances between the following note pairs. It is easiest to remember the half steps since they are the exceptions within this list.

A to B: whole step
B to C: half step
C to D: whole step
D to E: whole step
E to F: half step
F to G: whole step
G to A: whole step

Applying Intervals to the Fretboard

Dennis starts with the lowest (fattest) string on the fretboard. When this string is plucked, it produces the note E. The distance between an open string and its first fret marker is one half step. As a result, the note name of the first fret on this string is F. Now, using the pattern of whole and half steps that you learned earlier, determine the fret locations of each note in the alphabet on this string. Follow along with Dennis if you need some help. Notice how the note names begin to repeat at the twelfth fret. This second "E" note is said to be one octave higher than its corresponding open note. Thus, 12 frets across a single string represent an octave interval.

Learning the note names of every single fret/string combination is absolutely essential to your ability to work, communicate, and learn with other musicians. This is especially true of musicians that play other instruments. Chapter 3: (02:57) Note Names on All Strings In this scene, Dennis walks you through the process of determining the note names on the two lowest strings. He chooses these two particular strings because they are used more frequently than the others in the context of metal rhythm playing. The lowest root note of a power chord is typically found on the fifth and sixth strings. Power chords that contain a low root on the fourth, third, or second string are rarely used.

The lowest, fattest string produces the pitch "E" when it is played open. From the order of half steps and whole steps in the musical alphabet, you know that the next note, F, is a half step up from E. Thus, the note F is found at the first fret. The following note, G, is a whole step from F. So, G is played at the third fret of this string. Then, two whole steps occur within the musical alphabet. As a result, A is played at the fifth fret and B is played at the seventh fret. C is only a half step above B at the eighth fret. The scale then moves up another whole step to D at the tenth fret. Finally, the scale returns to an E note at the twelfth fret. A second, higher octave of notes begins on every string at the twelfth fret.

It is very important that you practice ascending and descending this horizontal scale pattern on a daily basis. Say the name of each note name aloud as you it. This will help you memorize the notes and their corresponding locations in the most efficient manner. Once you have determined the note names and locations for the other five strings, practice playing up and down the scale horizontally on those strings as well. Chapter 4: (04:14) Left Hand Exercise Dennis demonstrates an exercise designed to develop left hand accuracy and coordination. This exercise also serves as a great warm-up when you first begin your daily practice session.

Begin by playing the note F on the high E string. Fret this note with the first finger. Then, while keeping the first finger planted, play the note at the second fret with the second finger. Next, the third finger frets the note at the third fret. Make sure that you keep your first and second fingers planted. Next, while keeping your other fingers planted, the pinky finger frets the note at the fourth fret.

Then, this entire pattern is repeated up a half step in second position. This continues until the pinky finger is fretting the note on the 12th fret.

At this point, the pinky jumps to the 12th fret of the B string. Once on the B string, the pattern that you have been playing is repeated backwards in an ascending fashion.

Note: Tablature to this exercise can be found under the "Supplemental Content" tab.

While playing through this exercise, it is very important that you adhere strictly to the rules of classical left hand technique. Make sure that your thumb is planted perpendicular to the middle of the neck. Do not bring it up and over the neck! Make sure that your fingers remain arched at all times. Do not flatten out any joints. Keep the wrist bent in a comfortable position. Finally, keep your left hand fingers as close to the fretboard at all times. Watch Dennis for a clear example of proper technique.

Also, you must keep the rhythm of the exercise steady at all times. Set your metronome to a slow quarter note tempo to begin with. Make sure that each picked note aligns perfectly with the click of the metronome. This exercise should be played in a legato fashion. Each note must ring clearly into the next.

Once you feel comfortable playing this exercise slowly using all downstrokes, practice it using alternate picking. The first time you practice the exercise, start the alternate picking pattern with a downstroke. The next time around, begin with an upstroke. This will ensure that your upstrokes and downstrokes are even in tone and volume. Chapter 5: (05:15) More Left Hand Action The left hand exercise that Dennis demonstrates in this scene is quite similar to the exercise presented in the previous scene. Both exercises are geared toward improving the overall ability of the fretting hand.

The exercise presented in this scene begins on the sixth string instead of the first. It starts with an ascending chromatic pattern played by fingers 1, 2, 3, and 4. After the pinky finger plays the note at the fourth fret, the pinky slides up to the fifth fret. At this point, a descending four finger pattern is played. This alternating structure of ascending and descending patterns gives this exercise a strange, almost wave-like quality.

Note: Open the "Supplemental Content" tab for tablature to this exercise.

When practicing this second exercise, remember all of the technical and musical rules discussed in the previous scene. Strive for clarity and accuracy rather than speed. This is a warm-up exercise! You will not receive much benefit from simply blazing through these patterns! At first, play each exercise as slowly as you can possibly stand it. Then, as you master each exercise at this tempo, gradually begin to increase the tempo. Also, like Dennis mentions, be sure to practice these exercises using nothing but upstrokes in addition to strict downpicking and alternate picking.

Note: For more exercises similar to those discussed in this lesson, be sure to check out Guitar Lore written by Dennis Sandole. Chapter 6: (03:56) Another Left Hand Exercise Dennis demonstrates an exercise that is very effective at improving the reach and flexibility of the left hand. If you are a beginning guitarist, or you simply have smaller hands, you will probably find this exercise very uncomfortable at first. Due to the difficulty of this exercise, practice it in the middle of your practice session when your left hand is sufficiently warmed up. If you experience any pain at any point in time during this exercise, stop what you are doing and take a break. When your fingers feel totally relaxed again, return to the exercise. Do not try to play this exercise fast! Ever! Doing so will only result in pain and potential injury!

This stretch exercise begins with the first finger playing at the ninth fret of the low E string. Then, while the first finger remains planted, the second finger stretches to play the note at the eleventh fret. In the next portion of the exercise, the same stretch is made between the second and third fingers. Remember to keep the second finger planted! This particular stretch is extremely difficult due to the fact that these two fingers share a tendon. Finally, repeat the same process with the third and pinky fingers respectively. You will most likely find that this combination is actually easier than using the middle and third fingers.

Dennis has chosen to demonstrate this exercise at the ninth fret, because the size of the frets are relatively small in this area of the fretboard. To increase the distance of your stretching ability, try to play this exercise between two frets that are lower on the fretboard.
Chapter 7: (11:58) Right Hand Exercise The right hand exercise that Dennis demonstrates utilizes a descending form of the E natural minor (E Aeolian) scale played horizontally across the high E string. Before you dive into the actual exercise, take some time practicing the ascending and descending pattern of this scale across the first string. Use your index finger to fret every note.

When the scale is used in the context of the exercise, open string notes are inserted in between notes fretted by the left hand. The first version of this exercise is played in a steady sixteenth note rhythm. Three open string notes follow each fretted note. Start the exercise with a downstroke or an upstroke and proceed with strict alternate picking. Descend this pattern until you reach the open E string. Then, ascend the pattern back to where you started at the 12th fret.

Make sure that you adhere to the picking rules that Dennis discusses in this scene at all times. The very tip of the pick is the only part that should make contact with the string. This is much easier if you hold the pick in such a way that only the tip of pick extends out from the thumb and index finger. Watch Dennis closely for a clear demonstration. Holding the pick in this way will allow you to play faster and with more precision.

Also, Dennis prefers to play with the pick parallel to the string. This technique yields the loudest and brightest possible tone. This may or may not be desirable to you. Other metal players such as Kirk Hammett prefer to play with the pick slightly angled. This produces a slightly darker, jazzier tone.

Repeat this exercise on all six strings. This minor scale pattern takes the name of the open string that it is played on. For example, if you play this exercise on the B string, a B natural minor scale is produced.

Once you feel comfortable with playing this exercise in the way that Dennis has just described, try to eliminate two of the open string notes between the fretted notes. This results in a repeating pattern of a fretted note followed by only one open string note. Playing the exercise in this manner creates much more work for the left hand. As a result, you may need to alter the left hand fingering. Watch Dennis for some possible ways of executing position shifts within the scale.

In order to challenge your right hand, remove just one open string note between fretted notes. This diminishes the rhythm of the exercise to a steady triplet rhythm. Playing the exercise in this rhythm will slight affect where downstrokes and upstrokes occur. This may require some extra practice and mental / hand coordination. Regardless, always maintain strict alternate picking throughout the exercise.

To provide your right hand with an even greater challenge, add two additional open string notes between fretted notes. When this occurs, the rhythm increases to a steady sextuplet rhythm, or six notes per beat.

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