So here’s my breakdown on how to use a metronome properly.

Metronome Types

First, there are several different types of metronome, but they all basically do the same thing- make clicking or ticking noises at a certain speed set in bpm (beats per minute).

The first type is what I always think of as the “traditional” metronome. You know the ones- they’re like triangular boxes with a swinging weight on the front. You move the weight on the pendulum to change the speed of the clicks. This is the type that you usually see standing on a piano in a school (often just gathering dust!).

The downside of these mechanical guys is that they can only be set to certain speeds in set increments- so you’ll be able to get it to play 100bpm, but not 102bpm (for example) because the next set speed is 108bpm. Not a massive problem, but if 100bpm is too slow, but 108bpm is too fast, you’re stuck! They also tend to be quite big and heavy- so you couldn’t fit one in your pocket.

The second type of metronome is the one that I have: the electric metronome. It’s very similar to the mechanical metronome, only it’s smaller and powered by a battery. Once again, it clicks at different speeds- but only in at set numbers of beats per minute. I don’t really mind, though, as I can use the speeds I have and play different numbers of notes per click (if I really wanted to).

The third, and final, type of metronome is the one you’ll probably find on sale in most shops these days: the digital metronome. These are quite good- you can set the bpm to any number you want (within reason!). These are also the type that cause the most confusion when people first start to use them.

Keep it Simple

The problem with the digital metronomes is that they have so many features that beginner guitarists often get confused on which ones they should use! Well, if you’ve ever been confused, I can tell you now: you only need to set it to click at a speed. Seems simple enough, but with digital metronome features including different time signatures and beat subdivisions it’s easy to get lost.

That’s right! Some metronomes allow you to set it to, say, ⁴₄ and it will accent every first beat of the four (i.e. 1 2 3 4 1 2 3 4 etc…). All you need to set it to do is to emphasise all the beats the same and then do the counting yourself!

Really, the emphasised beat could help you count, but it’s going to be more help in the long run if you can count the beats yourself.

Rhythmic Subdivisions?!

Another feature that digital metronomes come with that puts people off is: different numbers of clicks for each beat! As if they weren’t already confusing enough! They might help you to get a “feel” for dividing the beat, but, again, simpler is better.

All you need your metronome to do is go “tick tick tick” at a speed that you’ve set, and with each tick being the same volume and tone. The speed you set it to is the speed that you would tap your foot to, and when it’s on it’s doing the job of “foot tapping” for you.

So there you go, a metronome = a “foot tapping” machine; giving you less “foot tapping” to do yourself and allowing you to focus on making music (i.e. the important bit!). The complicated features and stuff can come later…

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Rob

Yes, I play the bass aswell…although I had to use a pick for some sections because it was too fast for my fingers…

Click here if you can’t see the video

You should notice that this is a “Rock Version” and not a “Metal Version”. I’ve been getting alot of comments about my other tunes not being “metal enough”. Some have been telling me metal has to be fast; some that it has to be slow; some think that metal has to be played on electric guitars with distortion (…and just about every other variation!).

What makes something “Metal”? Please read “How to Play ‘Metal’ Guitar” where I attempt to answer this question (I said “attempt”!).

If you like my blog, please don’t forget to subscribe
Rob.

Notice he mentions taking lessons!

Click here if you can’t see the video

To be honest, I’m a little confused about the apparent lack of a microphone (and in case you hadn’t realised Jimmy Page is the dark haired boy on the left). Either way, I’m glad he decided to join Led Zeppelin in the end…even though him finding a cure for cancer would also have been good!

I hope this footage inspires you to keep up the guitar practice, as you never know how far you might go or where you’ll end up!
Rob.

Guitar Technique

Now, I’ve talked quite alot on this blog about guitar technique- which is all well and good- but it’ll mean nothing to you if you can’t pull it off in a performance or recording! So I thought it was about time to talk about how to improve your playing confidence and, more importantly, your comfortability with the instrument.

Practice Routine

I’m going to start by outlining the “Three Point Practice Plan” (which, in case you haven’t heard about it, is my guide to organising your practice routine effectively). Basically, the plan divides into three points (surprised?), which are broken down as follows:

• Warm-up

The title of this section is pretty self-explanatory- use this time to go over all the basic exercises (to get the blood flowing to your muscles). Mostly you’ll be playing things you already know here, working on your co-ordination and speed/dexterity. Spend as long as you want on this section, but usually you’ll only spend 10 to 15 minutes here.

• Direct Learning

OK, so this one is slightly less straight-forward. This is where you’ll spend time on learning new songs, scales etc,. This is the section of your routine that is the real “learning” side of things, when you should be studying what your teacher has given you in your lesson that week (Don’t have a teacher or lessons? Don’t worry,  just get in contact!). Spend 15 minutes to half an hour here.

• Relaxed Learning

…and…relax. The intensive learning is over for today, and this last section is just for you to play around in. There are no limits or particular goals in this section, and you can spend as long as you want here- but that doesn’t mean it’s unimportant! This is the section I want to talk more about today.

Guitar Playtime

Do you ever find yourself just “freezing up” when you go to jam with others or play on stage? It might be because you haven’t been paying enough attention to the last section of the routine! Sitting down and focusing on playing and learning new things is great -don’t get me wrong- but sometimes we can forget why we play in the first place- because it’s fun!

Also, if you want a deeper explanation: this is the time that your brain gets to organise all the things you’ve learnt and where you become more comfortable with all the techniques you’ve used…although it might as well be called playtime! So, put your guitar on a stand, where it’s easily just “picked up” when you feel like it!

The good news is, of course, that the more you learn in the second point of the plan, the more you’ll start to use in the third section! I wouldn’t count anything as “learnt” unless you can play it when you want to. Just like you’ve not really learnt a word until you can use it in a sentence (in normal conversation, not just in a test!), just the same with a scale or a chord- it doesn’t count unless you can use it! That’s what this last section is for.

Experiment

So, knowing the right notes isn’t enough- you have to be able to use those notes in your music. Play around with different scales/chords and don’t just relie on what the “textbook” says should work, use your own ears! How has this worked for you? I’m interested to hear your responses!

Rob.
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…when they become old…

…but how old is old? I don’t want to turn this into one of those “How long is a piece of (guitar) string?” questions, so I’ll get to the point: how do you know when it’s time to change your strings? I know some people that have used the same strings for years and have no real problem with them, and others that change theirs once a week. Something that many beginner guitarists don’t realise is that guitar strings are disposable- I mean, you use them for a short time, then throw them away.

While there is no set time limit to how long your strings last, there are certain signs of wear and tear that you should be on the look out for. Here is my list of the top 5.

1. Breakage

OK, yes this one is a bit obvious: when your strings break, you need to put new ones on (else be left with a guitar with only 5 strings)…but did you know that as your strings age they lose their elasticity? That’s right, they become stiff and difficult to play. This affects string bending (and you’re more likely to break a string when bending an old string!).

The strength of the string will also make it more difficult to tune and harder to fret!

2. Tone

As strings age they start to rust, going from a smooth, shiny silver to a rough, dull brown. You may have noticed this, but did you also realise that the same thing happens to your tone? Yup, you may not have noticed but as your strings have aged they’ve gone from sounding bright, clear and shiny to tired, rough, and dull! You’ll really see what I’m talking about once you’ve replaced them with new strings!

You’ll also suffer from intonation issues, where some frets will be out of tune for no apparent reason (other than elderly strings!).

3. Sustain

Along with losing their voice with the coming of old age, your strings also lose their stamina. The notes that you fret will lose their sustain (i.e. how long the notes last)- which is really annoying for playing any lead guitar (and even some barre chords!). Some notes may not even sound at all when playing faster pieces, and with slower sections the notes will “cut out” long before you want them too!

4. Hard to Play

Many techniques that you’re finding difficult may be made impossible by old strings! First, all that rust on the surface of the string increases the friction- making sliding really hard work! If that’s not enough, any legato will use a tonne of force (i.e. a bad idea!) to get the string to co-operate (and you can forget sweep picking!). It will start to take more and more effort to get those bends up to pitch as well, making your tasteful blues sound more like a catfight!

5. Feeling

No, I’m not talking about that blues feeling! I’m talking about the actual feel of the strings! If the above reasons aren’t enough for you, they will gradually feel rougher and look brown and horrible!

Trust me, once you’ve replaced those old strings you’ll be much better off!

What about You?

I normally change my strings at least once a month (for the tone), way before I ever start breaking them. How often have you been changing yours? How often should you? What are your reasons to dislike old strings? How do you judge when to change?

What Kind of Guitarist/Musician do You want to be?

You may not be able to answer this question right away, but it’s what you need to start asking yourself if you want to move on. Whenever you start a journey it’s much better to at least have an idea of where you’re going, than meandering around aimlessly!

Which person do you think gets further: the man who says “I want to travel to the north pole” and then goes and does it; or the man who says “I want to go somewhere fun”? Well, the first guy gets to the north pole (with a bit of luck and determination of course!), but the second guy hasn’t got a plan of action and is likely to just end up slumped in front of the TV…after not being able to decide where to go.

You may find it helpful to break the above question down into smaller, more manageable sections:

• Which Musicians inspire you to play, what makes them sound like they do?
• Which areas of your own technique and sound are you least happy with?
• Which areas of your technique are sound are you most happy with?

- and MOST IMPORTANTLY…

• Are you being honest with yourself about your abilities?

Essentially, I’m asking you to look at your abilities and those of your favourite musicians and to ask yourself “Why don’t I sound like them?”. I really want you to break it down into tangible things- obviously it’s no use looking at your own abilities and saying to yourself “I just suck!”- what is it exactly that’s different? Do they have a better tone? If so, how do they get that tone? How could you get a similar sound? Do they play faster than you can? How can you increase your playing speed? These questions will help outline your roadmap to success, before you even start the journey.

Every Journey starts with the First Step

Simple, but true. If you want to be that guy who decides to go to the guitar playing “North Pole” -and makes it- you’re going to need to start with the very first step. If you’ve been honest with yourself, the answers to the questions above should provide you with a map to your destination, but where do you start?

This is where the idea of setting goals comes in: once you’ve decided on where you need to improve you should start setting yourself small, achievable goals. Each goal that you achieve is like taking a step, and (if you think back to our journey analogy) you need to be constantly taking small steps and keep checking back to the map to make sure you haven’t got lost.

So you need to be constantly setting yourself small goals (maybe each day), achieving them (taking the step) and then looking back at the map (the direction you want to go in) to help you set the next goal.

Practice Routine Example

Lets apply this strategy to an example. Say you wanted to increase your alternate picking speed to four-notes-per-beat (quavers) at 100bpm. You would then break the path down to this main goal (the destination) with smaller steps.

• First Goal- Perfecting Your Techniques

This means using the right techniques for alternate picking. How do you find out what that is? You could try getting lessons, listening to/watching/reading about others that you know have good technique, or subscribing to/favouriting informative websites.

How will you know when you’ve achieved this? When you can play in a way that doesn’t cause you to tense up when you speed up, or doesn’t lead you to making awkward hand positions or getting pain.

• Second Goal- Increase Speed

For this you’ll want to read my other posts on metronome use and how to practice effectively- which are both about how you should start slowly (getting things perfect) before gradually increasing the speed (to get as fast as you want without creating extra tension).

Summary

Yes, I’m sorry to inform you that the kind of ability that you probably want wont come overnight (just like a trip to the north pole isn’t as quick as a walk to the shops!), but if you take it in small steps and have a good (and honest!) roadmap you’ll get there eventually!

Discussion

What do you think? Have you used this method? How has it worked for you? Please share your experiences.

There are two ways to mute the strings when you play guitar, and both are equally as useful at preventing unwanted strings from ringing. I explain and demonstrate the technique in this video:

Click here if you can’t see the video

As you can see in the video, you can either use your left or right hand to mute with. The best strategy is to use a combination of both (unless you’re aiming for a specific sound).

Left Hand Muting

First, I want to talk about your left hand (fretting hand). To mute with this hand you should put your finger on the string (as if you were about to play a note), but you don’t press the string down. This results in a muted note (try it- instead of a “ding”, you get a “dnk” sound). Now, on it’s own this kind of muting is used for rhythmic styles such as Funk, or Reggae.

The main riff to Bob Marley’s “Could You Be Loved?” is a good example of Left Hand Muting. Listen to the guitar part:

Click here if you can’t see the video

Right Hand Muting

In contrast, right hand muting (also known as “Palm Muting”) tends to be used in Rock and Metal styles of music. It produces a tight, crunchy tone (when used with distortion). When you mute with your right hand, you place the side of your hand against the strings, right next to the bridge- but, again, don’t push down. You’re left hand plays normally.

Here is an example of Palm Muting; listen to the opening riff- the first 5 notes of each sequence are very rhythmic:

Click here if you can’t see the video

Both Hands

Especially when playing through loud amps, you need to control the strings that are allowed to ring all the time. This is achieved by using a combination of the above two methods. The side of your fingers on your left hand should mute the strings higher (in pitch!) than the one you’re playing, and the palm of your right hand should mute the lower strings. This method prevents unwanted strings from ringing out and creating horrible feedback and noise!

Of course, you’ll want/need to master all three methods eventually. I hope this article has given you a head start

If you want to keep updated with more guitar tips and lessons, please don’t forget to subscribe.
Rob.

Don’t get me wrong, the quality of writing and -to some extent- the factual content are accurate and well presented. So what’s wrong with it? Well, the article title is “How to Play Metal Guitar”, suggesting the question in the readers mind “How do I play Metal Guitar?”. Now, I have a bit of a problem with this, because it almost assumes that playing guitar in a Heavy Metal style is completely different to all other genres (hint: it’s not!).

In fact, I have a better question: not “How do you play heavy metal guitar?”, but more “What is metal guitar?”…just what is “metal”? How is it defined? You see, I was originally going to write this post teaching you how to play metal guitar (hence the title), and I could do that, but first I want us both to be clear on what “heavy metal” is.

What is “Metal”?

Metal is a very wide area of music, and everyone seems to have their own definition of what it is- www.guitarlearninglessons.com included. I’m really not up for bringing the above-mentioned post down (and I don’t feel the need to), so I’m just going to point out where I disagree with their definition, and how this can help you really play “metal” guitar.

How does guitarlearninglessons define metal? Well, simply that it’s usually in a minor key, with a fast tempo (high speed), and uses chugging rhythms. This definition includes all the most popular metal bands today- influenced by Metallica, Iron Maiden etc; essentially metal with a punk influence (thrash, NWOBHM, Motörhead…). I don’t disagree that this counts as metal, but it is metal with a punk influence- you can take away the punk influence (i.e. the speed) and it would still be “metal” in my book. Anyway, what about Black Sabbath? They almost created heavy metal, and there was no punk influence in sight…

Encyclopaedia Metallum

The second source I looked at for a definition of “heavy metal” was the Encyclopaedia Metallum. This certainly looks like a credible source! After searching through their pages I found a set of conditions that a band needs to meet in order to be accepted, along with examples of bands that don’t meet the criteria.

To my shock and surprise listed among the bands that wouldn’t be classed as “Metal” were: Metallica, Led Zeppelin and Deep Purple! OK, maybe Deep Purple I can forgive for being labeled “Classic Rock”…but Metallica?! Under the rules that they set down for acceptance, Black Sabbath wouldn’t get in here either (or if it did it would be on “historical importance” only). Although they don’t actually specify what “Metal” is, I can gather by these examples that I’m at least unsure about their definition.

Heavy Metal as a Genre

So what is my definition? Well first, most of the songs are in a minor key, with dark themes and heavy sounds (usually created by the bass). To me, “Heavy” means just that- heavy. Like the sound of a giant, or a heard of elephants- a heavy moving object. This implies lots of bass to me.

Bands that I would consider “Metal”: Black Sabbath (of course!), Metallica (again, no surprise!), Black Label Society, Pantera, St. Vitus, Iron Maiden, Motörhead, and anything by Ozzy Osbourne. All of these bands have what I would call a “Heavy” sound, which I would say is the idea behind “Heavy Metal”. I can see a few heads shaking…

Discuss

The truth is, given the wide and varied definitions for “Metal” I can’t say what exactly it is -I’m not sure anyone can! Do you have the answer? What defines “Metal” for you? Are Metallica still a metal band? What About Motörhead? Or are you as confused by all this as me?

If you like my blog, please don’t forget to subscribe.

Rob.
Confused :s

Although this swap happened months ago now, I hadn’t had the chance to listen to this new guitarist play the Ozzy set. I know that he has the technical ability and a “metal” sound from listening to his other band, Firewind.

Click here if you can’t see the video

I think the above video proves that Gus has great technical prowess on guitar, but it doesn’t show anything of his ability to fill the role as the Ozzy guitarist. I mean, it needs the right attitude and sound to play with “The Ozzman”, much more than just some clean alternate picking and sweeping! So what I’ve decided to do is to look at each guitarist separately, playing the same song with Ozzy and comparing their playing ability and tone.

Gus G. with Ozzy Osbourne

Click here if you can’t see the video

The above video was taken from Blizzcon 2009, and is the only live example I could find of Gus playing the guitar on an Ozzy song. If you watch you’ll see that he’s clearly able to play the song…even if he is occasionally copying Zakk’s style of pinch harmonics and alternate picking. I assume some of that is a requirement of the job (especially being able to play the songs!). I would never have doubted his playing ability knowing what songs he has to play.

What disappoints me, though, about this performance is the tone of the guitar. While it is true that you could compare his playing approach to Randy Rhoads’, I find his guitar tone quite thin and digital sounding. It might be because all Ozzy’s guitarists before have used Marshall amps (which produce a more natural tone with the use of valves). I don’t know what amps he uses but I find Gus’s tone on these recordings thin, lifeless and flat!

Maybe you think that’s unfair, so (in the interest of fairness, and also to fully explain where I’m coming from), lets look at other axemen that have filled the role.

Zakk Wylde and Ozzy

Click here if you can’t see the video

There’s something about this performance that should jump right out at you. I don’t know if it’s because Zakk and Ozzy have been playing together for about 20 years, but you should be able to feel alot more energy from this video. Zakk’s tone is heavier and bassier than Gus’s; whereas Gus’s guitar sounds clean, crisp and clear, Zakk’s sounds like a herd of elephants. Of course, that’s not a bad thing for either guitarist, just a difference. Each man plays the song technically perfectly and cleanly.

If I’m honest, I much prefer Zakk’s sound here, it’s heavier and just rocks more (along with his style of playing). Zakk plays with power and energy, whereas Gus’s playing is more focused on accuracy. This may be down to experience with the material, but (listening back to the Firewind video above, and also to live Black Label Society gigs), it would seem consistent with each man’s style.

Randy Rhoads

I couldn’t do a comparison of guitarists playing “Mr. Crowley” without mentioning the original, as played by the legendary Randy Rhoads (R.I.P.).

Click here if you can’t see the video

As this is the original recording, you could argue that it’s the definitive version of the song. I think Randy’s playing style lies somewhere in between the above two- very focused on technical accuracy, but without neglecting how much the tune needs to rock. The balanced approach is what is needed, I think, but if I had to chose one aspect…rocking out beats technical proficiency hands down (within reason…you need to have someone that can play the song!).

Discussion

In my opinion, the best guitarist of the three is definitely Randy, followed by Zakk. Gus, for me, doesn’t even come close (at least from what I’ve heard) but I want your opinion. Which of the three versions do you like best? Maybe you Prefer Jake. E. Lee? If you could pick a new guitarist for Ozzy, who would that be?

I know I can’t tell you who is really best, so I would really like to hear your opinion
Rob.

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Click here if you can’t see the video

I basically break practice time into three main sections:

1. Warm Up

Including any exercises.

2. Direct Learning

Basically anything your teacher gives you as “homework”

…and…

3. Relaxed Learning

Which is important so that you don’t get bogged down in theory and technique and have a chance to develop your own style. This is the “fun time” of the routine.

This is the framework for a very basic routine, and the idea is that you fill those three sections with whatever you feel you need in relation to that heading. For example, you may decide you need to learn open chords; studying and practicing the chords comes under the “Direct Learning” section- and then in the “Relaxed Learning” section you can just mess around with strumming the chords (whichever are your favourite, there are no rules!).

If you need more information, check out the original post.

Any questions, comments or things you think I’ve missed? I’m always open to new suggestions With each others feedback we can all become better musicians.

Rob.