Hey
here´s a cool lesson with the great Dweezil Zappa!
Lead Guitar Lesson – Fusion Guitar Pattern Lick Featuring Dweezil Zappa
Hi everybody at Guitar Control. I’m Dweezil Zappa and I have
a quick lesson for you. I’d like to show you some sequencing
ideas, a way to sequence notes within a scale or within just
a random pattern that you can choose on the guitar.
First I’m going to choose a random pattern and this, I think,
is a good way to learn the picking rudiments of what this
exercise or idea is. Here is the sound of the idea. So if you
speed that up… You’re going to end right there on the root.
But the idea here is not really the notes that I’m choosing,
it’s the phrasing and the pattern of what you’ll be able to do
when you attach that to a scale, like for example, the dorian
mode. That would sound like this. So this idea that I went from
— I’m taking the same idea and I’m applying it to a scale.
I’ll show you what it is and then you can learn how to do it with
any scale that you know or any random pattern. Like, for example,
you could take this kind of sound, if you were going to use only
this shape across all six strings. There are all kinds of weird,
random things that you can do once you learn what the actual
pattern is. And that’s kind of fun to just be able to challenge
yourself to come up with something that you’ve never played
before, but at least you have a tool or a framework to attach
the notes to. That’s what this is about.
Here is the basic short version with this three-fret space,
chromatic idea and I break it up into four groups of three
strings. So the first group of strings is the E, A and D and
then the next group of three strings is the A, D and G.
Obviously, the next one is D, G, B and then the fourth one
is G, B, E. Here’s how we’re going to break it up. We’re
going to start on A, we’re going to go to a pull-off to A
flat. We’re going to go from A sharp to D and then to F
sharp at the top here.
The way that we do this with the picking, if you watch closely,
is downstroke, pull-off, downstroke, downstroke, downstroke
and we do that — it’s sort of like an augmented shape here,
but we’re not going to play it as a chord. We’re going to actually
play individual notes but you don’t strike them individually.
You actually just — in one downstroke, using gravity, you
actually just play all these notes and you try to, with the
fleshy part of your fingers, as you’re playing, mute the
string you don’t want to hear.
And now you would end with this A flat to finish the pattern here.
That could be a hammer-on, and you can also pick it, too. But the
way that it gets going when it’s fast, you do pick it. When you’re
playing it slower it might actually sound better as a hammer-on.
So here’s the deal, all the way through all four sets
of three strings. All right, and when you get it going
fast it sounds interesting.
Now let’s look at it for the dorian mode so you can see
how to apply it to a scale. So we’ll start at the B note
here and we’ll go to A and then up to C and E on the A
string, G on the D string and then B on the D string as
well. If you just look at this, you actually end up an
octave away when the pattern is complete.
There’s different ways you can phrase it, too. But
that’s the interesting thing about this pattern and
its your choice how you want to use it. But the rest
of this scale… So experiment with it and see what
you come up with. Try any other kind of random
pattern or any scale that you know and see if you
can make really intervallic lines with it.
All right, well, I hope you enjoyed it; I hope it is useful
to you and I hope you get a chance to come to my camp,
called Dweezilla, which we’re doing July 1st through July
5th at the Full Moon Resort near Woodstock, New York,
and good luck on the contest. Hope to see you there.
Lead Guitar Lesson – Fusion Guitar Pattern Lick Featuring Dweezil Zappa
Hi everybody at Guitar Control. I’m Dweezil Zappa and I have
a quick lesson for you. I’d like to show you some sequencing
ideas, a way to sequence notes within a scale or within just
a random pattern that you can choose on the guitar.
First I’m going to choose a random pattern and this, I think,
is a good way to learn the picking rudiments of what this
exercise or idea is. Here is the sound of the idea. So if you
speed that up… You’re going to end right there on the root.
But the idea here is not really the notes that I’m choosing,
it’s the phrasing and the pattern of what you’ll be able to do
when you attach that to a scale, like for example, the dorian
mode. That would sound like this. So this idea that I went from
— I’m taking the same idea and I’m applying it to a scale.
I’ll show you what it is and then you can learn how to do it with
any scale that you know or any random pattern. Like, for example,
you could take this kind of sound, if you were going to use only
this shape across all six strings. There are all kinds of weird,
random things that you can do once you learn what the actual
pattern is. And that’s kind of fun to just be able to challenge
yourself to come up with something that you’ve never played
before, but at least you have a tool or a framework to attach
the notes to. That’s what this is about.
Here is the basic short version with this three-fret space,
chromatic idea and I break it up into four groups of three
strings. So the first group of strings is the E, A and D and
then the next group of three strings is the A, D and G.
Obviously, the next one is D, G, B and then the fourth one
is G, B, E. Here’s how we’re going to break it up. We’re
going to start on A, we’re going to go to a pull-off to A
flat. We’re going to go from A sharp to D and then to F
sharp at the top here.
The way that we do this with the picking, if you watch closely,
is downstroke, pull-off, downstroke, downstroke, downstroke
and we do that — it’s sort of like an augmented shape here,
but we’re not going to play it as a chord. We’re going to actually
play individual notes but you don’t strike them individually.
You actually just — in one downstroke, using gravity, you
actually just play all these notes and you try to, with the
fleshy part of your fingers, as you’re playing, mute the
string you don’t want to hear.
And now you would end with this A flat to finish the pattern here.
That could be a hammer-on, and you can also pick it, too. But the
way that it gets going when it’s fast, you do pick it. When you’re
playing it slower it might actually sound better as a hammer-on.
So here’s the deal, all the way through all four sets
of three strings. All right, and when you get it going
fast it sounds interesting.
Now let’s look at it for the dorian mode so you can see
how to apply it to a scale. So we’ll start at the B note
here and we’ll go to A and then up to C and E on the A
string, G on the D string and then B on the D string as
well. If you just look at this, you actually end up an
octave away when the pattern is complete.
There’s different ways you can phrase it, too. But
that’s the interesting thing about this pattern and
its your choice how you want to use it. But the rest
of this scale… So experiment with it and see what
you come up with. Try any other kind of random
pattern or any scale that you know and see if you
can make really intervallic lines with it.
All right, well, I hope you enjoyed it; I hope it is useful
to you and I hope you get a chance to come to my camp,
called Dweezilla, which we’re doing July 1st through July
5th at the Full Moon Resort near Woodstock, New York,
and good luck on the contest. Hope to see you there. 
