classical riffs for rock guitar - wolf marshal

8/3/2019 Classical Riffs for Rock Guitar - Wolf Marshal

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Cassicaliffs·fOruitar

by Wolf Marshall

ILe,aJ'I'I ..,n

I Seq ...e:nces1 IH,~"ic Miinor $cales

I

I ,. [Phrygian [ M O _ - , _ d _ e'....S,weep' A!rlpegg ios....and' much IQ'U)Je'

hhear Ih,ow••,.

playnow!



ClassicalRiffsfor

Roc Gluitarby Wolf IMarshal1

. $AIlMlc!Q, Pu'bllcatla:n,.N ie ,,, Y b fi ,: ib oc c .f 1i 'S y d '1 e y /C ;o ls o; ;; r e



CM,AP'I'EIR, 'ITab,1ture 5

CHAPTER :IDj!,'ItQIliK; S ~ < J ~e Form~ a

C M aj or S eal e a,

E r - ' l i riO· 5cale Iin Th re e Fingeri 1P 8

Se(J I~ 'j'! r lgE;! r l r i lg !;;x ere se 9 '

Six- \let c So le Finger ing: Exere isc(Hird .<IrJdFol!!rtr S trings ) 10

Six- \!;::t 8 S eC !e F n ge r in g E~Er e s e

(j- rs t an d S et0 r~d jtnin!g5jl 1 1151:.-r\; o t~ S~ 'II~ F i nW ii ri [If :; E,~~ri"(;ie 1 ~

CHAP...ER 3Seque nees 13

F :)~r-Note lPa J t~ rll I :;

A~c~Iii'::ing Ph'a,se ( 'Four-N,ote Pan~lrr) 13

[f{! scend i19 P~El; 8 [ W H O -Note Patte~n) 14De'~,(;er;d11 iI ;g ~ ( )U r-Note P<ltlerlfll 15

lDes.::;;mirg r!1r..se ~rn,r-~(Jte p,ltt:;:r~l Hi

CHAPTI!:R 4Har,monlk MinQIf 17

, t J " Harmon c \",rlor S':: i : l le n~tm::('l-p~ t p~ ttorn 1n A i"!,YIlfIOrll r . "1~1M Ir

DOS(C'ljin,g Phrase in A . i~3Jrmo;)t'icMilrlCF

( S p,n i,h P hlr yg ia ln Mode) 18

CHI_liTER SA:rp€:ggl ia:so 19

A Mi,nl~' ,"'qpt~ggi.:: (Fnuf Po:sition,~j i9

, f " . M inor 1 ','p~OO iQ 1 9A Miller An:l fl .ggio wi[h Lo'." ier IN8IigIQ;.XlrN.:)Le~ ,20

P o M iiler i\rp.::.ggi 0 w it ~ L o ; , o , c ' ( !Ncigli;_'Of N N t C ~ ,20A H.nli1onic r . . . .1i1OF A'peggio her( ise

( \ I i it h Spa1sh Ph r1 '& i811 Mode) :21

CHAP-rER,6Ar~gg~Q$ <:1110he <y~le Q , f Fo I , . ! rths : 2 : 2

Aru: : 'i?g; ;r i cs ThI '" ; )u.gIHh e C v c I@of F(lu -t hs :2 2

CHAPTER 7DTmj~nli81Iu~dArp(!ggi()~ 2.4

De~ r. t id i ti ig f v1 1 io r n i r r : ls 24

ID mini" hed Arpeggio IExerti se 25

CHAP'YER BS!,!,'( l(\!PArlfleg,gios 26S'.\le~pArp~.gsia~ J6

CH,.PTER '9Preludle~nlCM~Mr 19f ' rel~JdE;! i1C'Mi'lJ;r 29



I"I

II

Steve Vat



-rABLATUR_

AH of the m us ic examples in this b ook. a re presented in standard music notatlonand tatsature. Tablature is a six-fine system in which each line represents a stringof the gl l ita r, Numbers placed on the lines lnd icat e frets _A zero l11dlcates an .0pen

string. as ill the foillowing 'example.

First String P la ye d O p en

f J - - - - - . . . . . . .I'~

(E)

. - . EO

'"". . .

'"1

,

AB

Here is a tuning d iagram in m us ic and tablature.

~

IL ' C D ~ J : .,.

- - - - ~E B Ge

D A: ! l _

"E. . .

" '.IT ~ -

"A

. ..

"Hv ,.

n~.

5



For your reference, here is a diagram of tablature s ign s a nd s ymb ols .

! " l

~~-IIt.

H

.:.-"' "'"T

OJ'

AR

'1'''AR

Hammeron

H

B

Finger vlbrato

IV

p Pulleff

Slight bend to indefinite r~utch-us.ually IIeS5 thana half step- (SeE!following example for notation of

other types of bends.j

Whammy-bar vibrato

1 "AR

Dive and retu rn with wt l ammy bar

6

. I



, '1 J . I _I.

L

AT 'if

AB

op 'en (1 1 atu r a~) ha rmonic - tabiatu r' e shows,

fr-et at which! to touch open string, musicshows actual pitch,

Ani'ficial (pinch) harmonic - tablature alnd musicboth indicdte point at whi-ch left hand stopsthe str~ng,

Tap-on harmonic =tablature and music bothi nd i cC l lt e p oi nt at which right hand taps on,

Glenn ripton

7



DIATONIC S,CALE

PORMS

lh,e d ia ton ic s co te is the basis. for practically all conventtonal melodies in Westernmusic. I~tserves as an ideal starting point for our study of the classical melody line.IHere is the G major diatonic scale in second position .

• •i

Now try playing the retotive minorscaie-: E minor. The example shows threebasic finger~nl5 patterns, a'Splayed 0 1 1 1 a single string,

• II"

G 1 3 G 1 . 2 1 2 . . 1 2 - 4 , 1 2 .{ 1 2 4•

On the f i rst tra clc 0n th e accom pan y ing casset te, you'll be rnov ing these til reefingering patterns round the fingerboard of the guitar. Start on the sixth string,move to tile fourth string, then to the second string- and, finally, to the firststring. All three fingering patterns are used in each phrase.

8

[

~



G/B C5 D5 E5

1 :I 4 1 :3

"l2 . . . I'I 4 , 1 2 4 t a 4 J 2

4, 1 .2 · s 2• I

• •m

~ 1 2 (I 1 2

n/F'.~1.24124

G5

I 2 4 1 2 4 :

AS

: 1 .3 0: & 1 s 4,

G/ll CS DS E5 Ern D/F#

IZ 4, 1 2 : 4 J ! 2 ·

' "i 2

,f i 2 4 . ! : 3 4 · 1 3 4 1 2 - "

1.M.- - - - - - _.,. - - - I

9



Em GS A5

1 a 4

1 . : : 5

B-~,-

Afte r yo u 've b e co m e fa mil la r wit h tlh is sea Ie fingeri rig e xe re i se , yo U m ig:htwant to play it double-tl me - or ' e ven alter the pattern - as demons t ra t ed on the

tape.N ow le t's loc k at the scale patte rn s y ou have just p laye d ln s i x- not e € lr oup il rt lg s .,Notice the similarity of the fi ngering shapes lin the first and second six-note forms.Play this exercise slowly along with tile ta pe ..

'.Thl'lI'CIl FQft'fI

2 ~ ,I I ., . 1.-1 4 2 l~ 1 I1 . " : 1 ' . .

sh(ft shill

457 4 :

N ow try the s am e e xe rc is e US~!1gth,e f i rs t and second s tr ings of the gui tar.



•

'i

"1 )

The two exercises you have just played are combined in the next track on the

tape. Play the entire pattern in tempo along with the tape .

.•m D/F# G5 AS

f~/B C5 D5 E5

11



Em D/F# G5 AS

GiB C5 D5 E5

As you played the exerrisewith th e ta pe , you probablv noticed that the bad-ground s id e of the stereo split features a harrronvgultar part. Once you've mas-tered the lead line, turn oft he lead channel [with the balance control) and try your

hand ail:tile harmon)! part. Ttl is wiH hel p to develop vour musical vocabu iarvendsharpe n your e ar .

For further practice, play the exercise with legato phrasing in double-time, asde sui bed on the ta pe.

VIJgwie J MaimsteE'n

12



SEQUENCES

To get a handle on sequences, first learn the simplefour-note pattern featuredbelow .

•1 :2 4

Now practice an ascending phrase which features the rour-nots pattern youhave just played in a steady sixteenth-note rhythm,

• 2,< 1 "I '~.4 .124 m _ ~ . . . . . ~1241124-J.]241'" .2, . . . · " ' + . 1 ' . . 2 4 - 1 2 4

~1trI.

b

13



1.2412412

F --;

8M - -

< I .3 4, , -

Now practice a descending phrase which uses a two-note pattern of brokenthirds ln a (Om~niLlOUS sixteenth-note rhythm.

• •m - -

4

4 1 1 1

1 11 ; i!e 1T------'I9~ 1 7 14 1 5

1~

:

~9

E~ 1; !1

]

8~l- - - - " " 1 -

1 1 : : I I

3 4 12. 1 2 . 4; ~ 2 - 1 1 2 1;.~ 1 4 1 2 .j 1 3 1

- .



The next track on the tape combines the a s ce n d in g am i descending phrasesy ou have j I IJ s t p ll ay eo. N once , h oweve r . that th iedescend i'1Igphrase te a tu re d on thetrack begins on an A. Play th~entire sequence twice along with the tape.

YOU !will hear this type of pattern ln the guitar play~ng of artlsts l ike Rand yR l1 oa ds , Y n gw ie . Malmsteen, and Vinnie Moore,

Now let's lookat another standaro descending melody sequence. As before,learn the simple four-note pattern first. Then practice sn ifting the pattern downthe neck.

•lia -

4 2 4

- " " " I I

I

_;

, I

15



Now play Ule entire sequence in tempo along with thetape

I ~, '). I' 4 " 4 3 1--'1 4.2 1-1'"'.. ~ I-I

1I

-17

1 " ~ I 4 : 2 ; 1 ;i . 2 I-I 4 2 ] > I

The phrase you have just played is W,~rylexible because you can change stringgroups, posltlons, and filligeri,ng forms at vi rtually any point ill the line. Once youhave 'mas te red the phrase as it is notated in th€: preceding e xamp le , g o ahead andexperiment with every possible variation you (an imagine,

16



r

. i

\

HAIR ONIC MINOR

Ti le harmonic minor c on ta in s a ra lsed seventh degree, This can create a r n exotic orethnk effect in your music, T ry playing tile A harmonic minor scale

• •1

9

Here's a three-part pattern U l s . i ~ . g the A minor harmonic scale. The me-lady

motif ls stated in the first measureo f the pattern. The tWD measures that To-Bowemplov imitation to expand 011 the motif.

.. '•I J

By using me A harmonic minor in ccmblnatlon witn an Echord tthe domfnant

chord,) you can give your music a Spanlsh/Moorl sh ftavor - an effect that hasrecently become quire popular. Play this descending A harmonic minor patternagainwith an Echord in the background, This narmonir relationship Is referred toa s th e Spanish Phrygian mode.

17



•1 I

1

I,

• I

•••••••••••••••••••ic K Mars

18



ARPEGGIOS

An arpeggio [or broken chord) is an important element of the classical-rock style ..Let's IODkat a simple A minor arpeggio triad which uses the root, third, and fifthd e gre e s of the scale. T ry p~ayingthisarpeggio patten in t ou r octaves, as no ta te dln the example that follows.

•

Now connect the phrases, and p~ay the arpeggio iinitempo along wuth the tape .

• •. .

" ,

19



Add the neughbor notes one-half step bellow each arpeggio tone .

.. ..1~1~1 4 , 3 < 1

,'I

. ,.

Her-ets the entlre arpeggio phrase with the added neighbor notes. Try playingthis phrase a~()ngwith the tape.

In the next track on the tape, you willi be using an ascending arpeggio phrasewith nelghber notes, as well as the motif from the previous track. Listen for thechord movement from tonic to dominant -3tamlliar sound in rlassical rock ..TheSpanish Phrygian mode is used in the second phrase of the track ..

20



Am

. . .

E8va - Am

. . . . . '

,- ,

.;,

Dove Muml!j

2 .1



ARPIiGGIDS AND THI!

C~YCLI!011 FDUR711S

Let's apply the arpeggio loa cycle offourths progress.ion. This type of progresston

is . reminiscent of the baroque and classical stvies of Bach arid MO.zart respectivelyToday, you (an hear the cyde of rour tns progression in the rook compositions. ofRandy Rl10.3cl.sand Yngwie Malmsteen. Practice each phrase of this progressionalong wltn the tape, then play the entire sequence in temoowitn the trade

."Em

02.4.2~3

a-;~ -I'

4... 1

1 3 .i - 3 ]

. ., '

22



c F # dim?

1 1 1

E m

, I

23



DIMINIISHED

ARPEGGIOS

The diminished arpeggio is constructed exclusrve~y of minor thirds. Aminortbin: isan interval spanning three liiaJf steps, Play through this pattern of descending

minor thirds .

..

PracH:e the foLlowing diminished .arpe~.gio pattern in triplets-then play thepattern along with the rhythm track on the tape ..

Noth::e th e various position changes and the symmetrical movement or theminor thilrd shfts.

24



•C

42 1 2

. . .1 3 11 3 1

Ill'

19

14 11

C1 4 J 1

8p« - - - -

4 . I oj 1 2__--- -c-; 2 :;;

,-

p P HP P H P/,, --' -- -e-,.....

. . - . - - - . . .

----8--l

-,B q

----~--:-;--...

~. " ' . : . - - _ . _ - _ -,

:1'.

P H P p o H P

25



SW_IIP' ARPEGGIDS

let's take a look at a simple form of sweep (or rakp.) tecnmaoe, This Is a verypopular method of articulating arpeggios. The idea here is to use an economy ofmotion by playingfou r-note patte rns with on Iy two plck strokes, Learn eacharpeggio in the next example separately, as demcnstrateo on the tape. then playthe entire sequence of sweep arpeggios along with the track. (Notice that. as the

cnord p r u gre s sl o n repeats, a contr ast in,g, susta ilriled melod y (0 me 5 in - and thesweep arpeggios are featured in the background of the track ..)

5.E AmBva» -

* ''1 f· 'i Ii V "1 " 1 1 S J " ' I F: 1 " ' 1 n 1 "1 1 "1 I'"

,

1 " " 1 . ~ y I " . ..! '! -

I' l < / r ' 1 " _ ' L1I~ V II

•

ej

V !{ 'II' F'j_ - _ ~ Ii .\'" r" I_ .

L 1..-__ . . . . 1 ' 'L..-_-I

' " r " = downstroke

\! = upstroke

26



8 ,,'a - - -

D G

4 1.2 . - 1 , ,4 : 4 l ! . ' " 4 1 1 4 II ,j il 4, II 1". .. J I.: : '~ 1.. ~~1" ~-t.l"':- :~l ~ .-----....2lt. !~2 ~ l - - - . . . . . 2 '_;~2

.-~.r-~·~~

!

L - "8. . . . . . . . . . ~ :3 . . . .

_ . . , ; 1 -3 : J 3 8 s s

8~'a-C4 .

-~-_;

I'

B

4 ? ,~ 2 . ; 1~ ~l-=-... 2 " L~

- - -1 -S

- Is

" -r!'~

E

s B B R S H P tril]

. . .Am

~.)

D G

. . B s

'1 E I . , 16

27



B E

B s

. , _ _ . . . . . . . . - . . . . _

: I

One e oyo~ 've playe d th e excrcl sew ith swee p 3r p eggio s th rough 0ut, lear n t: hemelody line along the tape, and practice the exercise again as notated above.

28



The final track on your tape features an adaptation of J.S. Bach's "Prelude in CMinor" [from r n a WelJ-TemperedClavler] . . Bachl 's music poses a definlte challengeto the musician's ability to play with endurance and clarlty ..Th~5is because of the

conr inuous . driv~ril,gq ua lity o f Bach's work. Perhaps this is the r eason w hy so-manyneoc lass i ca l rock musklans admire a n d emu la te Bach's most famous pieces.Practice each phrase of the piece as described on the tape, then play the

piece in tempo along with the track,

•COl

4~3 2 : 3 ~ . 3 .2: .'~:r!

Frn/C

!2121212-.f J I

u

I-I

_ - ::.

em1

I

"

'te'

29



A~ tc~

~4 '" < 1 . 4 : 3 ,,1 .a,_"'- -,';> - l. ~_~ _-,...- • ..,..- . - •. P"" -1"- • ~, I

D7/C

. 2

+•~ L... 1 ~ ~3 1 3,t_- - -. I

19

B--a-+i2-'fJ -F - )1 9 11 "~1----9---' '

, . . .

GmlB~.)

f !~~~i!~~ •'I • . 'II}

r

FI]I /Ab

- -B~7/A'1_._~. 2i 11:2 ,4_'_

.-+ ,

'-

I

Eb/G A, /C

30



B~/D E~

J l4 2 :

41 !.

4 -2;

4 ! : . . _ .

J 2 I 3 ; 4,

s]

.3

4 a JJ

~l , , . . • •

II . . ;

. .

.. . --""- _ . : : a _

rn

Fm6/Cern1 . 2 1 2

1 .2 1 :2

c t l

: , . "

I" "

31



•

F#07,iG

4212]32.~ 132.3

Cm/G

11 . 2 11 . 21 2 1 2

_li I

Cm /G

!2 12 42. ~2.

, I".,

c

--[I

5-

After you've made this piece a part of your regular practice sessions, tryanalyzing the chords (as they are implied by the movements of the metoov).

Your continued study and practice of classical music and themes will provideyou with a wealth of new ideas to assl m i late into your own style=- and so enrich

your musical, pe-rsonality.

32



DIe ,ifIs and technique,. you need m ,make vo,ua campfele chI'ssk'al/rocigvitai!' ,~'

An IInYitliltive n.'W' i i i !pproOll!;h IQ Il.Ind'erlilt!l lndlng illll ld luslngl'classllcalJlr,ock riffs that II~t:.you pi.., wlitlil,;a ba nd iIIghttro:ml

the 51.ri. As , I O U are Introducedllo Il:IIe ImpQrI:(IIn,l

tee hnique8 alndl concepl8 hI Ih. 88$1.10. und'el!!"!!;tandte::rt,Ilet iIIhe specllatly recorded iIIudlo"CiIIssette glive you Inol8nlly

• fl!lror.:!li8iu;na I;t",~"rbut.. hJ III~k blind UI.nlbBIi!I;t!!you n::!rlutith,. p!I'actlce Om..

MIUSIc:;/Tablture' Tape LessCII'IIs (IIi.~~II > O'ialioo'ic Seal e Form !Ii

II > Malo riillld'IMlno:r Sc ale 'Inge ring Ii...$I1x~Noteale Fingerings....Selll:l,uences -• tllarmonic IM'inor Sc;alles

""Plhryghln ModeIJ!.Arpeggio8

.. Low.r NeighbQII'Note6

....1iheCyde of FOlllli1his.

....IMinvr Arpeggk)s

"IDiminished AliPeggio$.. SWHP Arp.: t<gg iios....~I.S.IBach's 'lPlrelu,de In C,1Mn,or",

ClassicalRi:f'fs folrRockLet p rofeDlona I roc l i e ; I l I 'u"5icia nand t:ell!cher WO.,Marsh""

teachl "oUlth" .ns 8nd (nilts 01.. alily lundersl.ndl'n,g andl

, . . & i 09 cllla8~caUrock, I'ifflI;.. Stan 01," le8!f"lng M 1,11"

dla,tolll I c : sCilletorm$, Move, 'on lei techl!1,ique5 and wp lelf;IIUGh as slnntl "kiNin I.,Melo dl,c ,.equelillces~IlwirmonIlcrnii l' ll ll; ''' 8CIII .. , dllminiUllhed :iI lI11HIIWIUJp arpaoaaias.l il ind mll lleh,

more. At evel!")' atep ollh., W 1 I Ir itlhelf8are1l',uIlI'Dcll.:bandIba,ckup 1m cks:to' let, yog prK'tlc e wh!lll: yog have ileil rn .,d.

I!II~.. 0 1 . , 1 ' 1 1 _Inslructlon,.o ok,or a,set o'.i.ped lessons,

Classk~' Rlffs forRoc~Q:!IJi'" fiV8S )'Glllh., ""ant .. ,. s of ; ! i l l

co,mplete 'iTo ck,class room~'"

Also ;>v.. ~' .. blo;>.,••

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classical riffs for rock guitar - wolf marshal

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