This is the demonstration video for Mozart's Turkish March - Lead Guitar. Turkish March - Rhythm Guitar Demo Rhythm Guitar Tutorial.

This is the demonstration video for Mozart's Turkish March - Rhythm Guitar. Lead Guitar Tutorial Turkish March - Lead Guitar Demo

This is the first video I made for Gibson.com, and it shows how you can harmonize simple triad (mostly) arpeggios to develop a cool melodic soloing idea over a metal type backing track. To be able to construct your own arpeggios and harmonize them it is a good idea to learn the different shapes of triads on the guitar. With that knowledge, it becomes pretty easy to harmonize them, as you play one shape of a particular arpeggio with Guitar 1, then move up to the next shape you've learned of that same arpeggio, and play it with Guitar 2. The arpeggios now become harmonized...

Here's a cool pentatonic shred lick that sounds best when played at light speed. It's very simple in theory, just go up the pentatonic scale using the top B and E strings. You start on any given note, and go down four, move up one position, and do the same thing again until you feel like it's time to land!

Here is the second video I made for Gibson.com, and it shows you how you can use pedal notes with arpeggios to create melodic sounding lines following a chord progression. A pedal note (or pivot note) is a note you keep coming back to in between other, changing notes. I basically just use the notes within the arpeggios of chords in the backing track, with an added 9 to some of the chords. This just makes it sound sweet! As for picking goes, I use strict alternate, but starting with a DOWNSTROKE on the pickup note. This means I'm playing all the DOWNBEATS with UPSTROKE...

Here's the first of my blues turnarounds in this tutorial. I'm going to start off every video clip with the last 4 bars of a 12-bar blues - the V and IV chords (E, and D if you're playing blues in A) - so that you can clearly hear where the phrase is supposed to start. In the notation, however, I will only note the actual lick. Note that all the licks in this tutorial will end on the V chord (E in the key of A) and thus expecting another 12 bars of blues to follow. You can of course change the last part of every lick to make it fit an actual ending to a whole song, by makin...

Here is the first part of the lead guitar (right hand on the piano) for Mozart's Turkish March. Below the notation you'll find a midi backing track in two tempos: 70 bpm and 126 bpm (full speed). Turkish March - Part A Rhythm

In this tutorial I'm going to show you a bunch of licks in the style of great Ozzy Osbourne guitar player Zakk Wylde - meaning full blues and pentatonic shredding mayhem. First of all - get these three scales really under your fingers: The Minor Pentatonic, The Major Pentatonic, and The Blues Scale. Zakk Wylde mixes them up a lot, but it's really useful to be able to separate them both by ear, and when you're playing. Preferably, learn these scales in ALL keys, and all positions, so you can move around all over the neck with ease. If you're just starting to learn t...

Here's a cool technique that could help you build some speed when playing arpeggios up and down. Just move the third note of each arpeggio (which happens to be the fifth in all of the arpeggios in this lesson) to the same string as the fourth note, which lets you play two notes per string, rather than two, one, one, one, which would probably require sweep picking if you want to play fast. In the case of a Dm arpeggio starting on the minor third, F, you're going to move the fifth, A, which is on the 10th fret of the B string, down to the 14th fret of the G string. Same no...

In this video I present to you a few licks that are quite useful when developing your chicken pickin' technique. Zakk uses chicken pickin' a lot, and apart from the difference in sound, this technique really opens up new ways of playing, making things that could be really hard to play with just a pick, seem quite easy. Practice chicken pickin' with both your middle and ring fingers.

Welcome to my tutorial on the rhythm guitar for Mozart's Turkish March, or Rondo Alla Turca, as it's really called. This is a pretty tricky piece, especially when played on an acoustic guitar. A good tip is to practice it first on an electric guitar and then move over to the acoustic if you feel like it. I use chicken picking/hybrid picking (i.e. pick and fingers) for most of the rhythm guitar part, but if you're not yet comfortable with that technique, feel free to try other ways of playing it.

This is a classic pentatonic rock/blues lick that is very useful. I'm showing you the main idea here, but take it to all kinds of different patterns and sets of strings and go up and down the neck! It's a real eternity lick that can go on forever (but make sure you practice escaping too).

Here's a fast straight blues turnaround. As you may have noticed, this is something Chuck Berry or Jimi Hendrix would play when jamming out on Johnny B. Goode. Remember to use all down strokes to get the right aggressiveness in the sound.

Here is the first part of the rhythm guitar (left hand on the piano) for Mozart's Turkish March. Below the notation you'll find a midi backing track in two tempos: 70 bpm and 126 bpm (full speed). Turkish March - Part A Lead

Here are some more Zakk Wylde style shred licks for you, all based off of the pentatonic scale and the blues scale (with variations).

Welcome to my tutorial on the lead guitar for Mozart's Turkish March, or Rondo Alla Turca, as it's really called. This is a pretty tricky piece, especially when played on an acoustic guitar. A good tip is to practice it first on an electric guitar and then move over to the acoustic if you feel like it. Rhythm Guitar Tutorial Turkish March - Rhythm Guitar Intro

This is one of the most common blues shred licks out there, and it's used by all sorts of players. It takes a bit of picking technique though to really make it stand out as you need to play it quite fast in order for it to sound good. This lick sounds best with lots of distortion. Also, try it with your wah pedal on. Move the lick around to all the positions of the pentatonic scale.

Well, the title says it all. This lesson is all about tapping arpeggios. I'm using the tap-pulloff-hammeron-pulloff pattern for all of these but there are many other variations you can experiment with. I find this pattern to be the easiest one. As for choosing what notes to play, just play the notes of the arpeggios of the chords in the backing track. In this case Dm, F, C, G. Find the notes in each triad on any one of the strings and tap away!

This is a pretty standard turnaround lick that uses sixth intervals going from one inversion of A chromatically down to the next one below.

The use of pinch harmonics has become one of the trademarks of Zakk Wylde's sound, and in this lesson I will show you how to make these overtones come out. I put up a simple little tab just so you can see how pinch harmonics are written. You'll learn best by watching the video.

This blues turnaround is pretty much like the previous one backwards and with a different ending lick. Enjoy.

Now this is a typical Zakk Wylde lick that he executes with perfection! It's a pretty simple lick based off of the F# blues scale but in order to make it sound really good you really have to work it up to a high tempo, and while you're at it, add some crankin' distortion and your favorite wah pedal and shred away!!! I pick everything using alternate picking to make it more aggressive sounding but it sounds fine using legato too! Just not as shreddy!

Here's a little blues lick for you that Zakk uses a lot in his blues and shred improvising. It's a classic blues/country lick and sounds great both when played fast and slow. It's also a very good lick for practicing chicken pickin'.

After hearing the famous Nokia ringtone a million times on buses, trains, and wherever else I went where there were people, I decided to learn it. It's indeed a very good way to annoy people, or catch their attention at your next performance. Anyway, it's not an original Nokia composition, but in fact an excerpt from Francisco Tárrega's Gran Vals, only that the last A note is placed an octave higher in Nokia's version. I here include two ways of playing it that I like, one up high and one in the open position with some open strings ringing together. Enjoy!

Here is the second part of the lead guitar (right hand on the piano) for Mozart's Turkish March. Below the notation you'll find a midi backing track in two tempos: 70 bpm and 126 bpm (full speed). Turkish March - Part B Rhythm

Turkish March, or Rondo Alla Turca as it's originally called, by Wolfgang Amadeus Mozart, is a pretty tricky classical piece for the piano that I divided up in two guitar parts - one for the right hand on the piano (lead guitar), and one for the left hand on the piano (rhythm guitar).

Turkish March, or Rondo Alla Turca as it's originally called, by Wolfgang Amadeus Mozart, is a pretty tricky classical piece for the piano that I divided up in two guitar parts - one for the right hand on the piano (lead guitar), and one for the left hand on the piano (rhythm guitar).

The distance between any two notes is called an interval - and a diatonic interval is an interval that you can find within a diatonic scale.

Zakk Wylde is one of my favorite guitar players, and he is mainly a blues/pentatonic shredder - so I present to you here a collection of cool licks you can practice to develop the speed and technique of Zakk Wylde.

Open strings provide new ways to approach licks.

This is a continuation of my other tutorial - Pentatonic and Blues Shredding - and it contains a few more cool licks that sound really good when taken up to light speed. I show you how to shred the blues scale to pieces.

Open strings ring more than fretted notes. That is why chords with open strings sound like they have more life than chords containing only fretted notes and barres. It is also often much easier to add extensions like 11ths and 9ths to chords by playing those notes as open strings rather than having to fret all of those notes. Here are a few of my absolute favorite chords that I put together in a dreamy little progression for your enjoyment.

In this tutorial you'll find some examples of melodic metal soloing played over simple metal/rock progressions to give you ideas for your own solo compositions!

I go through a couple of tricks on the guitar so you can make it sound like cows, elephants, chickens, whales, cats, and what have you.

I go through the technique of raking and give a few examples of how you can use it in your playing.

The pentatonic scale is the mother of all scales. It always sounds good and can be used in almost all situations. However, I find shredding up and down the scale a little bit harder because of the increased distances between the notes, compared to a regular major scale for example. Here are a few cool shred licks! Also, check this new tutorial out with a bunch of more blues shred licks - More Pentatonic and Blues Shredding.

Arpeggios, arpeggios, arpeggios. Where would we be without them? Nowhere! That's where! Arpeggios are everything! Well, almost... but they're very important if you want to understand music. And you can never mess around with them too much!

There are endless ways of ending a round of 12-bar blues, leading into a new set of 12 bars. Sometimes you just improvise as you play, but it's always good to have a few tricks up your sleeve. Turnarounds are usually most effective if they keep a steady rhythm using triplets or eighth notes. Most of these examples are based around standard turnaround licks, but I spiced them up a little bit.

This tutorial will give you exercises to help you learn how to use and practice hybrid picking.

This tutorial will show you some exercises that are really useful when developing your technique. We'll build on the 3 notes per string exercises to create a 1-2-3-4 sequences exercise.

I call these licks piano licks because the notes ring together like when you hold down the sustain pedal on a piano. This one is best played over a D or D7 chord, since those are the notes the lick is based around. I use a mix of regular alternate picking and hybrid picking for this one - I just do whatever comes natural to me. For you it might be something else, but it's always good to practise it both using alternate picking only, and using hybrid picking. A general rule for hybrid picking with open string licks like this is that you pick the open strings with fing...

I call these licks piano licks because the notes ring together like when you hold down the sustain pedal on a piano. This first lick is a bluesy one, and it can be pretty tricky at first to keep all the strings ringing at the same time - you're going to have to change to angle of your fretting hand, and angle it more up from the fretboard, compared to when you're busting out normal single note blues licks. I use hybrid picking for this one, meaning I pick every other note (except for the slides and hammer-ons) using my middle finger, and every other with my pick. And don...

This is a trick that looks cooler than it sounds. It consists of a simple B diminished seven arpeggio (B, D, F, Ab) with each note played four times but with a different finger each time. It makes for a cool visual effect when played fast because it looks like you're doing something pretty complicated with the fingers climbing all the way up the fretboard. But all it is is four notes played four times in a row each, starting with fretting with your pinky, then your ring finger, after that your middle finger and last but not least your index finger. Go practice and show ...

This is a descending open string E blues lick that can be worked up to really high speeds without too much effort because of the many pulloffs and hammerons. It is basically constructed from the E blues scale with the major third added and C# from E dorian and of course some chromatic passsing notes to make it sound faster!!! Can be used over any bluesy progression but I think more of it as an intro/outro lick played on its own without background chords to make it stand out more. Experiment!!! I don't use any hybrid picking in this lick but feel free to explore differ...

Here's a cool little A mixolydian based run with some chromatic passing tones to use when improvising over an uptempo rockabilly/country blues groove, for example Brent Mason's Hot Wired. Use alternate picking and work it up to lightspeed!

This is an example of an X-shape arpeggio that can be played with a lot of legato and little picking and is fairly easy to work up to high tempos. I'm showing you the top part of an Em7 arpeggio (from the top note - D, B, G, E, D) in 7th position here but this technique can of course be applied to all kinds of arpeggios all over the neck, go explore! The main idea though is to use 3 strings and have 2 notes on the top string (whichever string you might choose), 1 note on the one below that and 2 notes on the last string. This makes it (kind of) look like an X! I wrote ou...

Here's yet another descending country style open string lick from my library of licks! I use chicken picking as much as possible but however you decide to play it is fine, as long as it sounds good! The lick is constructed from the A mixolydian scale with the addition of the flat five (Eb) and the minor third (C) of A to make it bluesy! The cool thing about this lick is also the half step bend on the D string from the sixth (F#) to the seven (G) followed by the open G string. Not enough bending is done on the lower three strings! And again; the ever so important "let the...

This is a little bluesy line played over a B dorian minor vamp. The point with this line is not to copy it exactly but rather to get inspired by it and steal a couple of ideas from it. Mess around with the line and especially with the time. For example, try playing it all in 16th notes, all in 16th note triplets, try starting it at a different spot in the bar etc.

Here's a cool lick in G that uses a lot of open strings! It's cool to play it really fast and not too hard to master with a little practise. Be aware of that the first 16th note is a pickup note so the downbeat happens on the second note! I tabbed this one out in GuitarPro to get the rhythms with all the triplets right! The chords at the end are, in order: G, C, G, D7, G, C, C7 - The Lick! I put another video clip with close-ups below the tab!

This cool double stop lick requires pretty good chicken pickin' technique to master. Make sure to mute the three pickup notes to make it sound more like a chicken!

Here's an example of a technique that many country players use to add a nice rhytmic effect to their soloing. With a little slap back delay added, it almost sounds like a hoarse chicken...

After hearing the famous Nokia ringtone a million times on buses, trains, and wherever else I went where there were people, I decided to learn it. It's indeed a very good way to annoy people, or catch their attention at your next performance. Anyway, it's not an original Nokia composition, but in fact an excerpt from Francisco Tárrega's Gran Vals, only that the last A note is placed an octave higher in Nokia's version. I here include two ways of playing it that I like, one up high and one in the open position with some open strings ringing together. Enjoy!

I call these licks piano licks because the notes ring together like when you hold down the sustain pedal on a piano. This second lick is based off of the A mixolydian scale. Like the first lick, it can be pretty tricky at first to keep all the strings ringing at the same time - you're going to have to change to angle of your fretting hand, and angle it more up from the fretboard, compared to when you're busting out blues licks. I use hybrid picking for this one, meaning I pick every other note using my middle finger, and the rest with my pick. As a general rule with open...