Loading the player...

Martin Goulding - Modern Rock Techniques Part 5: Legato Playing Part Four: Developing Full-Roll Quintuplet Runs

Lesson Notes

** As featured in issue 29 **

Hi there and welcome to this month’s Modern Rock Techniques guitar lesson column, with the fourth part in our series looking at the legato guitar technique. This month we are going to look at ideas based around the quintuplet subdivision, which involves playing five notes per beat using the full-roll hammer-on and pull-off technique. We’ve already looked at this guitar technique in the guitar lesson from issue 27, where we developed ideas using septuplets or groups of seven. Both of these odd-note groupings are well used by modern rock guitar players such as Steve Vai, Joe Satriani and Richie Kotzen.

This style of legato playing provides a faster and more complex sound than the simpler sextuplet-based ‘half-roll’ style that we started off with in issue 26. Once described by Joe Satriani as the sound of ‘liquid mercury’, this fluid sounding technique is frequently used to build intensity during solos and improvisation in the modern Rock style.

This week we’ll be playing our examples over the downloadable backing track ‘Full-Roller’, which features an uptempo hard-Rock feel based around the A Dorian mode - which is the second mode in the key of G major, and with a target tempo of 160bpm.

Get the tone

To get a good modern Rock tone, set the gain on your amp to maximum, with the bass and treble set slightly boosted (1 o’clock), and the mid-range either slightly scooped (10 o’clock) for rhythm or boosted (1-2 o’clock) for lead. For the lesson, i used my Ibanez J Custom with Bare Knuckles VH II pick-ups, through an Axe-FX II - set up with the Brit Super amp (based on the Marshall AFD head), along with a tubescreamer style overdrive pedal and some stereo delay.

Example 1

The first example is based around the A Dorian position 7 shape, starting from the b7th degree (G). To gain initial familiarity with this run, a good idea is to establish the feel of the subdivision by dividing the whole idea into three two-string sets covering the low E and A, followed by the D and G and finally the B and E strings.

By isolating and repeating these individual sets for five minutes each, we can develop the three fingerings used in 3-notes-per-string scale playing - fingering 1, 2 and 4 when using two consecutive tones, 1, 2 and 4 when using the semitone-tone shape and 1, 3 and 4 when using the tone-semitone shape. In this position, the two string sets are symmetrical and provide a good starting point for developing timing, accuracy and stamina with the technique.

If you are new to legato playing, be aware that you may experience a rapid escalation of tension or fatigue in the arms, wrists and hands. When this occurs it’s very important to shake out your hands and arms until any tension has subsided. After a week or so of regular practice, with each example played for five minutes per day as part of your overall daily practice routine, you’ll notice an improvement in your stamina.

Once you have the three sets under control, link them together across all six strings, ending with the stop note before repeating. When the example is consistent in timing and tone - find your base speed and stay on it for a week or so before increasing.

Example 2a, b and c

We can take our initial repetition exercise to the next level by looking at an ‘exit’ or finishing phrase. This will allow us to generate musical ideas using the technique and help us to integrate the licks alongside our existing modern Rock-based vocabulary.

In example 2a, our run is played over the first four strings in the first bar. Try to pick lightly and hammer-on hard and from a height at first - the fretting hand square and dropped with plenty of space from the underside of the neck to the cup of the hand, and with the thumb in the middle of the back of the neck.

In the second bar, the pattern continues to ascend before rolling back on the high E string and using a hammer-on-from-nowhere on the B string to lead back up to the root note. This bar is executed using the alternative fingering - 1, 2 and 3 which sets the hand at more of an angle and is well used by classic and modern Rock players when leading into bends. Finally the b7 at the 8th fret B string is struck on the downstroke - bending up a tone to resolve back on the root note and finishing with slow wide vibrato.

In examples 2b and c, we then continue by applying this finishing phrase to A Dorian in position 2 (Phrygian shape) - which gives us a finishing bend up a semitone from the 9th to the b3rd, and then position 4 (Mixolydian shape) which gives us the bend from the 4th degree up to the 5th. As these three runs all use strong chord tones (R, b3 and 5) to resolve, they are the most stable choices found within all seven of the potential scale shapes, and are key areas to build vocabulary around.

Once you’ve finished the phrase, try to continue improvising using A minor pentatonic ideas as a contrast. Further to this - try playing a stock blues phrase before the run. By surrounding the new idea with existing ideas that you are already comfortable with, you will learn to integrate new ideas into your playing quickly.

Examples 3a, b and c

We can use our ‘three master positions’ concept to explore a range of different finishing ideas. In the following examples we’ll finish on the G string - using the fretting hand first finger to pull downwards for the vibrato. This will give us the resolving b3rd degree in position 7, the 5th degree when finishing in position 2 and the root note when finishing in position 4. Again, this concept is targeting the stronger chord tones of the minor triad - effectively providing a system which we can use to build our vocabulary around.

For the final vibrato, angle the hand as soon as the final note is struck with the thumb moving up and over the neck to form a pivot with the first finger just above the knuckle. From this pivot, use a rotation of the wrist and forearm to execute the vibrato motion - similar in feel to turning a key in a lock, and with the fingers remaining closed together in support and rigid.

Example 4

In this example, the run ascends in position 7 to resolve on the finishing semitone bend on the high E string from the 9th to the b3rd. Try playing this idea using the more classically based fingering - 1, 3 and 4, and with the bend on the third finger. As you ascend up onto the high two string set, you’ll need to angle the hand position slightly, with the thumb moving up onto the top of the neck for the final bend and vibrato.

Example 5

Our final example features a single-string legato roll starting in position 2, and which descends down through the positions on the high E string before moving onto the B string and resolving with a semitone bend from the 6th degree up to the b7th.

Moving away from the legato principle that the first note is picked and all subsequent notes are played using either hammer-ons or pull-offs, this lick features a picked note on each beat which helps bring out the accent every five notes.


Up Next

Martin Goulding - Modern Rock Techniques Part 11 - Sweeping & Tapping Techniques Applied To Extended Arpeggios Part 2

Learn to play contemporary sounding extended arpeggio modern rock guitar licks with added tapped notes ...

Martin Goulding - Modern Rock Techniques Part 10: Sweeping & Tapping Techniques Applied To Extended Arpeggios Part 1

Martin Goulding gives you the key to playing long shred guitar arpeggios with tapping in ...

Martin Goulding - Modern Rock Techniques Part 10: Integrating Sweeping And Left & Right Hand Tapping Techniques

Learn how to add tapping to modern sounding sweep picking guitar licks and solos in ...

Martin Goulding - Modern Rock Techniques Part 9: Integrating Sweeping And Left Hand Tapping Techniques

Learn how to mix sweep picking guitar licks with left hand tapping in this modern ...

Martin Goulding - Modern Rock Techniques Part 8 Legato Playing Part Seven: Moving Through Positions Using Slides

Martin Goulding teaches you how to play fluid, fast legato guitar techniques and licks across ...

Martin Goulding - Modern Rock Techniques Part 7: Developing Horizontal Two-String Runs

Martin Goulding takes you through this modern rock legato guitar lesson with routines and exercises ...

Martin Goulding - Modern Rock Techniques Part 6 - Legato Playing Part 5: Full Roller Solo Study

Martin Goulding teaches you quintuplet-based legato guitar plus the very modern guitar soloing technique of ...

Martin Goulding - Modern Rock Techniques Part 5: Legato Playing Part Four: Developing Full-Roll Quintuplet Runs

In this modern legato guitar lesson with Martin Goulding covers how to play quintuplet legato ...

Martin Goulding - Modern Rock Techniques Part 4: Legato Playing Part Three: Extending Legato Runs Tapping Technique

Martin Goulding teaches you how to add tapping techniques to your longer legato runs, guitar ...

Martin Goulding - Modern Rock Techniques Part 3: Legato Playing Part Two: Developing Full-Roll Septuplet Runs

Martin Goulding presents another modern legato guitar techniques lesson teaching you the technique of full ...

Martin Goulding - Modern Rock Techniques Part 2: Legato Playing Part One: Developing Half-Roll Sextuplet Runs

This modern rock legato techniques lesson with Martin Goulding focuses on the finger roll advanced ...

Martin Goulding - Modern Rock Techniques Part 1 - Hard Rocker Solo Study

Martin Goulding teaches you a modern Rock style guitar solo & discusses rock guitar tone ...

You May Like

Andy James - Metal Edge Part 1: 10 Pentatonic Shred Licks

Andy James teaches 10 ground breaking fast pentatonic shred guitar licks in this metal guitar ...

Nick Jennison - Creating Drums On Acoustic Guitar

In this percussive acoustic guitar techniques lesson, Nick Jennison shows you how to emulate drums ...

Sam Bell - Extended Range Secrets Part 2: Seven String Guitar Approaches

Sam Bell continues our series of 7 string metal guitar lessons, stepping into the world ...

Nick Jennsion - Extended Range Secrets Part 1

Nick Jennison steps into the world of extended range guitars with this exclusive 7 string ...

Nick Jennison - An Introduction To Slide Guitar

Get started with slide guitar playing in this beginners guide to slide guitar with Nick ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 17: Englishman In New York

Learn how to play this amazing fingerstyle guitar arrangement of Englishman In New York by ...

Sam Bell Rhythm Guitar Concepts Part 11: Using Simple Syncopated Rhythm Parts In Arrangements

In this rhythm guitar lesson, Sam Bell shows you how to create space within your ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 18: Lullaby

Take this fingerstyle guitar lesson and learn how to play the beautiful solo classical guitar ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 16: Yesterday

Giorgio Serci teaches you how to play The Beatles classic Yesterday as a full fingerstyle ...

Sam Bell Rhythm Guitar Concepts Part 9: Chordal Tapping Extensions

Learn how to play the fundamentals of chordal tapping guitar techniques with this great guitar ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 15: The Lonely Man

Giorgio Serci teaches you how to play The Lonely Man for classical guitar; made famous ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 3

Rejuvenate your pentatonic guitar soloing with these great guitar exercises, sequences and routines in this ...

Chris Buck - Rock & Soul Part 5: Play With Repetition Part 2

Chris Buck presents you with more reasons to use repetition in your guitar solos as ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 2

Uncover some game changing pentatonic sequences and guitar licks with the help of Danny Gill ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 14 - Momentum (aka Matteo)

Giorgio Serci takes you through his fingerstyle guitar composition Momentum in this creative acoustic guitar ...

Sam Bell Rhythm Guitar Concepts Part 8: Using Triads To Create Melodic Movement Within A Part

Add a sense of melody and movement to your rhythm guitar parts using triads. In ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 1

Play more interesting pentatonic guitar licks and runs with the power of scale sequences. Danny ...

Giorgio Serci Creative Fingerstyle Guitar Inspirational Pieces Part 13: A Walk In The Park

The jazz influenced fingerstyle solo guitar piece A Walk In The Park is taught by ...

Sam Bell Rhythm Guitar Concepts Part 7: Spread Triads

Sam Bell gives you an insight into modern guitar chord voicings using spread triads to ...

1 2 3 18
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram