If you have never played Heavy Metal on the guitar before, I suggest you read this lesson first so that you know what you will need to learn to become fluent in the genre.
The great thing about Heavy Metal guitar riffs is that while in many cases, guitar solos are hard to play, at least at certain points, riffs can be very easy at times, thus a really good place to start.
In these riffs I’ll be using from a variety of phrasing techniques namely vibrato, slides, hammer ons and pull offs, string bending, and palm muting.
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Though there are other techniques you will eventually add to your bag of tricks, the 5 techniques mentioned above are crucial if you want to create Heavy Metal music.
On each of the following Heavy Metal guitar riffs, I will identify the most important components of each riff so that you can use them when creating your own.
The power chord is notated as the letter name of the chord followed by the number 5. The number 5 has to do with the theory behind the power chord, which you can learn more about here.
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In fact, the rhythm used on this riff is so common in Heavy Metal music that it’s been nicknamed the “Heavy Metal gallop”
The next riff introduces string bending. Though this technique is more likely to be found in guitar licks or solos, bending the string instead of picking the following note can also be used in guitar riffs.
This is achieved in different ways on different instruments and on the guitar it is achieved through the two techniques used in riffs 5 and 6, that is hammer-ons and pull-offs, and slides.
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The next riff uses slides on entire power chords as well as notes of shorter duration that make the riff’s pace faster.
If your phrasing is bad, your bends are out of tune, you’re not in time or don’t have a sense of melody, among other things, the ability to play fast won’t compensate for those weaknesses.
That said, if the other components are in place, playing the guitar fast (learn how to do so here) is both expressive (ex. Using speed to create a climax) and impressive (since most guitar players don’t have this skill, if you do it right, people will be impressed).
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The following riffs involve short legato runs in bars 2 and 4. If you find them hard, zoom in on just four notes and play them at a very slow tempo for a number of times.
Once you gain the necessary muscle memory reaching the speed used in this riff, or even faster, shouldn’t be out of your reach.
If you can play all these metal guitar riffs with ease and on time, well done you’ve already made giant steps in the art of guitar riffing.
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What I would do next – apart from working on the other elements of Heavy Metal guitar playing – would be this:
Being slightly before or after the beat may go unnoticed while playing in your bedroom, or even rehearsing with your bandmates, but it won’t at the studio.
I realized how important this is this the first time I recorded in a studio. Had I had the habit of recording myself, I would have realized these timing inaccuracies at home, rather than in paid studio time, in front of others.
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However, I consider myself a guitarist and a musician first and over time I realized that by listening to and playing just Heavy Metal I was limiting my options.
There’s a lot you can learn from genres like Blues, Funk and Reggae and occasionally learning guitar riffs from these genres will just add to your arsenal of ideas.
Creativity is something that can be trained, and now that you know the main components that make a guitar riff, you can choose any of them, and creatively use them to make riffs of your own.
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You may consider giving a donation, by which you will be helping a songwriter achieve his dreams. Each contribution, no matter how small, will make a difference.It’s a long way from the most basic motions to the most incredible piece of virtuosity. Surely few guitarists can say they’ve never wondered just how wide this gap is when it comes to their instrument.
There are countless breathtaking pieces of guitar music and there’s no way to rank the hardest of them with any certainty. Still, this list pulls together ten hugely difficult works for the instrument that only the most accomplished masters can play.
Don’t think of them as insurmountable challenges, because they aren’t. Instead, treat them as motivational targets to aspire to. If you keep striving toward them, if you keep working hard, you’ll be amazed at what you end up achieving.
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Here we go - ten pieces that represent the pinnacle of guitar-playing. You can findguitar sheet music for each of them on .
In 1899, composer and virtuoso guitaristFrancisco Tárrega visited the Alhambra, the great Moorish palace in southern Spain. Moved by its beauty, Tárrega was inspired to compose one of his most famous works:Recuerdos de la Alhambra.
Many considerRecuerdosto be the hardest piece ever written for the guitar. It contains an almost continuous tremolo, a technique that requires a guitarist to repeatedly and rapidly pluck the same note. The technique alone requires countless hours to perfect, but it’s even harder to do it when the tremolo note’s always moving, as in Tárrega’s piece.
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As if that’s not enough, the player also has to thumb a drifting arpeggiated melody underneath the tremolo note. A successful performance of the work demands nothing less than complete technical proficiency. If you don’t read staff notation, here’stablature for the work.
Heavy metal legendOzzy Osbourne had a knack for working with phenomenal guitarists. With his band Black Sabbath it was Tony Iommi. Later it was Randy Rhoads. ForBark at the Moon, he brought in Jake E. Lee.
The album’s first song, ‘Bark at the Moon’ was written by Osbourne, Lee and bassistBob Daisley. All great metal songs contain powerful riffs and chugging chords, but there aren’t many that need to be picked with the kind of rhythmic precision shown by Lee on this track. The semiquaver runs in the chorus, for example, are tough to get right at tempo.
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Then there’s the solo. The notes cascade relentlessly and rapidly all over the fretboard, and there are some awkward rhythms to articulate. Lee’s also thrown in a few artificial harmonics to boot. Nailing those in the white heat of a solo takes serious chops.
Head in the Cloudsbelongs toMaria Linnemann’s larger work, Suite for Lovers, one of a range of compositions by the guitarist on published byRicordi Berlin. Seven pieces make up the suite, but this one’s arguably the most difficult.
It’s a beautiful piece that strikes the perfect balance between lyricism, intrigue and technical prowess. Its texture is marked by constantly overlapping gestures that involve quick and complex chord changes. It’s vital to maintain a clear sense of pulse throughout, otherwise the phrases will just collapse into a wash of sound.
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Here you can listen to a flawlessperformance of the work by the composer herself. She works through her composition so smoothly that it appears simple. But appearances can be deceiving - the moment you have a go yourself, you’ll see that she and the work mean business.
Ida Presti played countless pieces of guitar music as one of the finest performers of her generation, but she would compose only a handful of her own. Despite being few in number, they’re big on quality - and difficulty.Danse rythmiqueis no exception.
As the title implies, there is a sense of established rhythm in the work - just about enough to make the ‘dance’ label suitable. But the notes themselves are as irregular as the gestures that they’re part of. The performer has to scamper around the neck of the guitar, and some of the fingerings are far from comfortable.
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There are a few passages of pizzicato, which call for the player to mute the string slightly and produce a plucked tone - hard to do when playing complex passages at speed. On top of all that, it’s marked ‘allegro.’ So this is far from a stately waltz. Of course Presti herself would have found this work easy to play, but we’re not all concert guitarists.
Megadeth are widely regarded as one of the iconic thrash-metal bands. Thanks in no small part to the incredible fretwork of their guitarist Marty Friedman, a key aspect of the genre they helped to pioneer is highly virtuosic guitar-playing - or ‘shredding’.
They consolidated their reputation in the early 1990s with tracks like‘Symphony of Destruction’, which features one of Friedman’s most jaw-dropping performances. The song largely makes the cut here due to its guitar solo, which features a seemingly unending - for the player at least - run of semiquavers.
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In the midst of this run, right at the top of the neck, are a couple of stumbling blocks that make a perfect rendition difficult. First, lots of slurs are awkwardly and irregularly placed, so your picking hand can’t easily get into a groove. Secondly, there
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