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Lessons, Music Theory

D Flat Major sucks on guitar. Should you practice it?

Db major is not a friendly key on the guitar. The main reason is that not one of the open strings is diatonic, meaning none of the open string notes belong to the scale Db Major. There are also no diatonic open position chords, so accidentally playing an open string can be an unforgiving mistake. To get an idea of this, try playing the example below.

Ouch. You could hurt people with those open strings!

It is easier to play in the key of D or C and get a sound that is similar and more playable. Notice that playing full chords in Db major involves using more barre chords.

Some of the best solutions to playing in Db Major for Rock, Metal, and even pop players are as follows…

1. Tune Down

Tune down your strings a 1/2 step (Eb Ab Db Gb Bb Eb), then play in the key of D (a much friendlier guitar key!). It will sound as Db. Some popular examples of this would be the Guns ‘n Roses classic, “Sweet Child ‘O Mine” or the Killers’ “Mr. Brightside.”

 

2. Use a pitch shifting pedal, such as the Digitech Whammy

This is the same concept as tuning down, but you can achieve this sound by simply setting your pedal up to sound as a 1/2 step down. Just be sure to play with an amplifier at a volume louder than the acoustical sound of your electric strings or your ear will hear a m2 harmonic interval with every single note!

3. Use a capo

Instead of going down in pitch, you can go up with a capo. Throw a capo on the 1st fret, then simply play in the key of C. There are other options as well, but for a song that is mostly in Db, this is a great option for making the song easier to play, and typically will sound better too.

All of the above options are simply tools or ideas to help a song sound better. They are sometimes thought of as work-arounds or even cheating, but remember that the goal is to make music, not to follow some unwritten code of ethics about how a song should or shouldn’t be played. Nobody cares if you do any of these if the song sounds good!

So Why Practice Db Major at all?

Ok, so why should we bother practicing Db major in standard tuning at all? The reason is because the key of Db actually pops up in standard tuning from time to time, and will be a problem if you don’t take a look at it. Let’s look at a few instances Db might show up.

1. Modulation

Typically it occurs when a song modulates. You’re cruising along in the key of C, no problem, then towards the end the song modulates up a half step to Db. Try the example below to see what I mean.

Modulating up a half step like this sometimes happens at the end of a song.

2. Piano Music

Db Major is not a terribly difficult key to play on piano, so it does come up when playing with piano players or learning a piano piece on guitar. One cool trick my Dad, a pianist with nearly 80 years experience, taught me was to think of Db not as having 5 flats, but rather that Db major has 2 naturals (F and C) similar to how D major has two sharps (F# and C#).

D Major: D E F# G A B C#

Db Major: Db Eb F Gb Ab Bb C

3. Jazz and Blues

A good example of Db major would be in the jazz standard, Blue Bossa. The song is mostly played in Cm, but one section is in Db major. To play fluidly on a song like this, both of these keys need to feel very comfortable to play in and out of. You don’t want to be improvising fluently in C minor but then dread that modulation to Db Major when it comes.

4. Murphy’s Law

The danger of relying on some of the creative solutions such as relying on a pedal or a capo is that sometimes these things can fail. Consider what would happen at a gig if your pitch shifting pedal stopped working or if you simply forgot your capo. One shouldn’t expect the band to change keys simply because of equipment failure, forgetfulness, or lack of preparation.

The reality is that while Db major is an uncommon key on the guitar, it does appear from time to time, so it’s not the worst idea to take a look at this key and be able to play it competently in standard tuning.

WHO THIS IS FOR

Guitarists or any musicians at an intermediate level or higher, especially  blues and jazz players. Anyone who feels comfortable with the most common keys and seeks to improve their musicianship and their playing. Professional and/or gigging musicians.

WHO THIS IS NOT FOR… YET

Beginners. If playing an Em7 is still too hard, then there are a lot of other things to practice first. Start with more common keys like C, G, D, A, and E first. Practicing Db Major is not essential for beginners yet but may become important as the beginner’s skills and guitar goals change.

C# Major

It should be noted that C# Major is enharmonically the same as Db major, but is even less common.

Db Major: Db Eb F Gb Ab Bb C

C# Major: C# D# E# F# G# A# B#

The notes and chords sound the same as Db major, but have chord names that most musicians don’t want to see, such as E#m or B#m7b5. C# Major is typically only seen in classical music. Practicing C# Major is really only for professional musicians and those who already have a command of basic keys and seek to be thoroughly prepared for literally any key.

Where do you stand? Do you practice in every key, even uncommon keys such as Db? Let me know in the comments below or by getting in touch with me on social media. Keep shredding and woodshedding!

 

Lessons

Kirk’s Live Cadenza in “Fade to Black” Lesson

For the longest time, I’ve wanted to sit down and learn Kirk’s cadenza at the end of Metallica’s live performances of “Fade to Black.” I didn’t see any lessons on this anywhere else, so I thought I’d offer a lick by lick breakdown.

His performances do vary a little bit from show to show and over the years, but for the most part, Kirk plays the same thing consistently. His cadenza isn’t necessarily the craziest or hardest thing to play, but it is it’s own composition within the composition, which is something that Kirk Hammett excels achieving with his solos. A song can be a living, evolving thing, and when Metallica plays “Fade to Black,” they always include this cadenza.

I’ve broken down Kirk’s cadenza into six licks and provided a breakdown of each. You can also skip to the bottom to see a full transcription. You can see a full speed playthrough as well as lick by lick breakdown here…

Lick 1 starts off with a high bend from the D to an E repeated followed by a B Phrygian sequence and B Minor Pentatonic lick.

Lick 2 has Hammett playing in a B minor pentatonic add9 pattern over the G, but he bends from the root note B to a C#, which is a dramatic #11 over the G5. He may also be thinking of F# Minor Pentatonic in the 2nd measure here.

Lick 3 starts with a Bm sweep arpeggio followed by using notes from the A Major scale (notice the G# in beat 3) descending then finishing with an ascending A Major Pentatonic lick.

Lick 4 is simply the backing solo riff played with the band. They slow down and hit each of those accents (>) together. Notice the fermata on the last note, too. Listen to this section of live recording of “Fade to Black,” and you’ll get the idea.

Lick 5 is considerably slower as the band is holding out the B5 chord. Hammett ascends a B Major arpeggio played in two 8ves before sliding with 4ths back down to a B5 sound on the top two strings.

Lick 6 finishes the cadenza by tremolo picking while playing a slow glissando (a continuous slide upwards) to the same notes an 8ve higher before doing a slide down to the final power chord.

Here is a full transcription of Kirk’s Live Cadenza from “Fade to Black.”

Thanks for checking out this lesson! Have fun learning it, and if you post a cover, let me know. Keep shredding and woodshedding!

Lessons, Music Theory

Lydian Dominant in Metal

This is an excerpt from an original song called “Black Hole” that features the sound of LYDIAN DOMINANT naturally in it’s progression.

Lydian Dominant is a mode of jazz melodic minor, which is usually an unwieldy sound at first for most rock and metal players (myself included!). It took me quite a few years of focused listening and practice to really figure out how to apply sounds from the melodic minor modes naturally. Here is one context where this scale fits perfectly, and it’s relatively simple to employ.

Harmony-wise, the G#m is the i chord. The E7 is a bVI dominant 7th chord, and this is where E Lydian Dominant works. There’s also a D# or D#7 (V or V7 chord) which D# Phrygian Dominant works great over.

The key to using E Lydian Dominant over E7 here is TARGET NOTES. The two notes that sound the most like the scale are the b7 (D) and #11 (A#). I’ve identified these key notes as well as the roots (R) for each scale.

The A# is already in a G# natural minor scale, so it’s pretty simple to employ. To get the right sound over the E7 chord, play a G# blues scale, but get rid of the natural 5th (D#) and instead emphasize the b5 (D) and VOILA! You’re now utilizing the “Simpsons” Scale aka Lydian Dominant.

Here are the notes of both scales, notice that only one note needs to be changed.

G Natural Minor: G# A# B C# D# E F#

E Lydian Dominant: E F# G# A# B C# D

The E Lydian Dominant sound is only used over the E7 chord, but there’s enough time to get that flavor in before going back to tried and true blues and metal licks.

If G#m is too difficult of a key, try this in A minor. That progression would be Am to F7, so use F Lydian Dominant over the F7 (emphasizing the notes Eb and B). Here are the notes broken down so you can see that simple change. Simply change E to an Eb.

A Natural Minor: A B C D E F G

F Lydian Dominant: F G A B C D Eb

To find these scales, simply move the previously listed scales up a half step like so. Here is a progression to play it over and the scales that work well.

As always, let me know if you give it a try and what you come up with. Happy shredding and woodshedding!

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Lessons, Steel Lemon Live

Guitar Book Review: Building Right Hand Technique

If you’re looking for a guitar book that will help you improve your picking speed and accuracy, then look no further than “Building Right Hand Technique” by Bill Bay. This book is chock full of great right hand exercises. When I’m working out of this, my Steve Morse/Jon Finn/John Petrucci cross string picking playing feels a lot easier.

I found this book while poking around the guitar book section of a used book store. For $7.49, this book was a steal!

“Picking Studies” in the beginning of the book prepare your right hand for the basic technique of alternate picking as well as learning to string skip with both outside and inside picking. While the emphasis is on alternate picking, there are many examples of economy picking and even a few jazzy sweep picking arpeggios.

There’s a fantastic little section on tremelo with studies that are mandolin-like rather than typical Eddie Van Halen-type exercises. Nothing wrong with EVH tremelo licks, but it’s nice to have a little melody to play with the tremelo technique.

…I was also inspired and not bored by the beautiful examples and music within.

The book wastes no time in getting to Petrucci-like difficulty levels with the “Further Picking Studies” section, especially when played at a fast tempo. You’ll definitely get a picking workout!

Here are a few examples of what you’ll find in the book.

“Andante in Bm”

“Bill’s Etude”

There are a number of excellent etudes and little fiddle tunes, but the majority of the book is real world examples in the form of classical studies and pieces converted to pick style guitar by composers such as J.S. Bach, Fernando Sor, Maruo Guilliani, and many others. After working my way through the book, my pick hand technique improved of course, but I was also inspired and not bored by the beautiful examples and music within.

Who is this book for?

  • Anyone looking to greatly improve their picking technique with targeted exercises, etudes, and fun real world examples.
  • Players interested in playing classical music with a pick-style approach.

Who is this book not for?

  • Strummers
  • People who prefer deficiencies in their picking technique

Format

  • Tablature and Standard Notation

Publisher

  • Mel Bay

Ready to take your picking hand technique to the next level with a book that will inspire? Click the link to check this book out! Building Right Hand Technique

Lessons, Music Theory

Parallel 7th Arpeggios Lesson

 

This fun and challenging sequence is great for learning to adapt arpeggio shapes as well as for a warming up. It runs through parallel 7th arpeggios (i.e. Gmaj7 to G7) descending from brightest to darkest. A keen eye will notice that only one note changes at a time as you move through this sequence.

 

Major 7th (1-3-5-7)

Dominant 7th (1-3-5-b7)

Minor 7th (1-b3-5-b7)

Minor 7b5 (1-b3-b5-b7)

Diminished 7th (1-b3-b5-bb7 or 6)

 

When you reach the diminished chord, simply go down one half step (one fret) and start the sequence over again like so

 

Gmaj7 G7 Gm7 Gm7b5 Gdim7

Gbmaj7 Gb7 *F#m7 F#m7b5 F#dim7

*Gb is enharmonically the same as F#.*

 

Without further ado, here is the exercise.

You can check out how it sounds and get a breakdown here.

This sequence can also be applied to whatever arpeggio shapes you like or are currently practicing. Here is another example.

Let me know if you’re going to try it. I’d love to see what you come up with!

Happy shredding and woodshedding!

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