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ALDRICH DOUG, THE ELECTRO-LESSON. VIDEO WITH BOOKLET & GUITAR TABLATURE. DVD. DVD VIDEO METODO DI MUSICA ROCK. LIBRETTO DI. Doug is the Whitesnake’s lead guitarist since and was Dio’s guitarist before that. He’s an awesome hard rocker with very good technique and feeling. Guitars: Gibson Les Paul classic – Ibanez RG prestige – Fender American HSS standard strat – Schecter C1 Hellraiser AMPS.

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Ritchie was playing some different things, like melodic ideas based on the harmonic minor scale and the Phrygian mode.

He would play runs that were kind of half major and half minor, like ledson FIGURE 31 — mixing things up and bringing the major third in and out of his lines. Another guitar player I really love is Gary Moore, and I soon discovered that he had been a big influence on Randy Rhoads, who I was aware of first.

My introduction to Gary was his album Corridors of Powerwhich is just an amazing record! Gary had that signature intensity elecctro his attack in everything he played. I start with a downstroke and then use alternate picking down-up-down-up to pick every note in the phrase.

I know that a lot of players out there already know some of these licks, but the idea is to concentrate on getting the picking and fretting hands working together in tight synchronization.

As you play through these examples, notice that the index finger stays rooted at the 15th fret, barred across the top two strings, while the other fingers alternate in various sequences.

Mixing staccato and legato phrasing approaches, within the standard minor pentatonic box, reflects the general approach all rock and blues players use most often FIGURE In this electrl, I begin on the top two strings but then, quite naturally, move down to include the G and D strings.

This lick is built from that approach FIGURE 41but each melodic shape is derived from root-third-fifth arpeggios that reference different chords, within the key of G major.


With this type of lick, I always need to start off slowly, until I get it sounding really solid, before increasing the speed and intensity. Having said that, I know there are a lot of players out there that need to be pushed beyond that, to keep their interest and inspiration up. For those looking to expand their musical knowledge as much as possible, taking the opportunity to go to a music college is a great idea, and will prove to be invaluable.


I know many players that went to Berklee, Eldctro, and other electric guitar-friendly music colleges, where they had the opportunity to acquire so many useful musical skills — such as being able to fluently sight-read and write musical charts for guitar, as well as other instruments. Equally important is the other side of it: There are no rules when it comes to vibrato; there are so many different ways to apply vibrato to a note.

The first one to look at is the Ritchie Blackmore-style vibrato FIGURE lessomwhich is a fast, short note shake that can be performed either by voug the wrist or moving the guitar itself — or a combination of the two. The vibrato one chooses should fit the feeling of the song.

Something Randy and Stevie Ray Vaughan had in common was to shake the entire guitar when performing big, aggressive-sounding vibratos.

When a player like John Sykes used a very slow and wide vibrato, that became a signature of his sound. Performing vibrato on guitar is very much like singing — most singers will hit the note first, wait at least half a second and then add the vibrato, once the note is sustaining and the target pitch is established — and guitar players will benefit from utilizing this same approach when adding vibrato to a note at the beginning, in the middle, or at the end of a phrase.

In this lick FIGURE 46I move the bends to virtually every string, pausing on a given note, during the phrase, to bend the string anywhere from a half step to two whole steps. I really like over-bends, wherein one bends the string more than dout standard whole step to one and a half, two, or two and a half steps FIGURE It lends an air of unpredictability while also sounding really aggressive.


Let me say this: One of the gimmicks I love to use is the toggle switch trick, most effective on guitars with separate volume controls for each pickup, like a Les Paul, for example.

Doug Aldrich – The Electro lesson

Set the volume controls with the bridge pickup on full and the neck pickup completely off. You can devise cool rhythmic syncopations based on the way you flick the toggle back and forth. A great twist on this is to add a wah pedal and sound a series of notes via hammer-ons with the fret-hand only — all the while flicking the toggle in the rhythm of the melodic line and also rocking the wah.

Ace Frehley did it on Kiss-Alive! It sounds like a whammy bar — except that the note is going up instead of down — and it is easily done on all non-tremolo guitars. Try adding the toggle switch trick as you slide back down for another variation on the effect.

Doug Aldrich Master Class: 10 Steps to Monster Chops, Part II | Guitarworld

These are all little tricks that serve to add to the vibe and attitude of your guitar playing. While you are dazzling someone with awesome technique, you can always throw in tricks like these to take your solo in a new direction and get an extra wow.

The idea is to play things — and do things — that people will remember, and remember you for. With many of my favorite guitarists, what got my attention was not just their playing — it was their whole presentation and package.

The played how they wanted, dressed how they wanted, got feedback from their amp and even smashed up their guitars! That, to me, is real rock and roll!