Also, avoid moving your fret hand excessively it should move very little, in fact, so work on keeping the movement as efficient as possible. You can do this by releasing each fretting finger’s pressure against the string immediately after the note is picked. When playing this example, keep the alternating notes on the high E and B strings separate so that they don’t bleed into each other. In true Gilbert style, our maestro demonstrates the lick in a fast blues context at the end of a blazing run in A (see FIGURE 6).Ī lot of Gilbert’s super-fast alternate picking is based around this principle. The technique also works quite well on the first and second strings. Once you get the techniques under your fingers, move the lick around the neck in different positions and keys. You can reference the target pitches of the bends by playing the unbent notes one fret higher. Most of your practice should be centered on executing the half-step bends in tune. This cool-sounding move is often called a “pre-bend and release” or a “reverse bend.” Upon completing the B-string bend, he picks the G string for the first time and releases the bend, creating a drop in pitch on that string (from Eb to D).
PAUL GILBERT SHRED FULL
It creates a flurry of notes without much picking involvement.Ĭheck out Beasley’s full course, 50 Shred Guitar Licks You MUST Know, for more shred guitar lessons, tips, and tricks.FIGURE 5 is an example of a slick, country pedal-steel-style bending technique Gilbert demonstrates whereby he picks a fretted note on the B string, bends the string with his ring finger (supported by the middle finger) and simultaneously bends the G string at the same fret with the tips of the same fingers.
This lick requires more of a legato ability with the fretting hand in that in utilizes several pull-offs. The picking execution is a bit challenging but great for picking development. I take a simple B major scale and descend in quadruplets, ending on the root B. Sequencing is when you break a melody into different number sequences, in this case quadruplets. This lick incorporates the sequencing technique. Either way is acceptable as long as you focus on your alternation. I start each sextuplet with an up-stroke but many players are more comfortable starting with a down-stroke. Now we ascend with the pentatonic sextuplet ending on the root (A). There’s a bit more reaching involved for the fretting hand. Nevertheless it is a staple for any rock or shred guitarist.Īnother sweeping arpeggio but this time an actual mixolydian arpeggio (1,3,5,b7) ending on the root (A). It’s very challenging to alternate pick as each pass through the five notes requires the opposite picking of the previous pass. In this case I’ve phrased it in quintuplets (5’s). The lick starts with a whole step bend and moves into a 3 note arpeggio followed by a triplet feel melody. This Pentatonic lick has been widely used by many great rock and shred guitarists. Check out Beasley’s full course, 50 Shred Guitar Licks You MUST Know, for more shred guitar lessons, tips, and tricks.
Beasley’s handpicked range of phrases, concepts and techniques were chosen because of their versatility and application in a multitude of different contexts as motifs for original improvisations. Top educator and TrueFire’s resident Monster of the Shred, Jeff Beasley presents 5 Killer Shred Guitar Lessons covering a selection of shred guitar moves inspired by Paul Gilbert, Zakk Wylde, Eddie Van Halen, Steve Vai, Yngwie Malmsteen and many other kings of style.
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