
Firstly welcome to my course ‘Creative Shred Guitar Exercises’! In this first module we’ll explore the many different ways we can look at “Shredding” across 26 exercises.
We’re going to start this section with a few warmup ideas – partly to get some blood circulating in those fingers but mainly to tell your brain “It’s shredding time!”
The pentatonic scale is a trusted scale of Blues, Rock and Metal players. In this section we’ll look at two-note, and three-note-per-string pentatonic shred exercises.
Diatonic and harmonic scales are an absolute must for heavy metal guitarists. In this section we’ll look at multiple ways to use three-note-per-string patterns in cool shreds and sequences.
People often associate arpeggios with sweeping, but in the next few exercises I’m going to show you how to play arpeggios using the shred technique.
In the final section of this module we’re going to look at a concept I call stutter shreds. This technique will add pauses or stutters into your runs and solos without slowing down your picking hand. You’ll see this technique in context with the exercises that follow.
In this section we’re going look at mainly chromatic and whole tone scales as a means to strengthen legato articulation and finger independence.
In this section you’ll explore interesting ways to combine pentatonics and legato, with interesting picking emphasis and unorthodox three-note-per-string shapes.
In this section you’ll explore interesting ways to combine diatonics scales and legato. You’ll see interesting picking emphasis, as well as odd numbered note groupings and strange time signatures.
Too often are arpeggios associated with sweeping, but in the next few exercises I’m going to show you how to play arpeggios using the legato technique.
These two scales sound particular weird and freaky when played with legato and odd note groupings, and they’re a great place to start if you want to add some whacky Allan Holdsworth style ideas to your playing. We’re going to explore them thoroughly over the next few exercises.
The “hammer on from nowhere” technique, put simply, is hammering on to a new string that hasn’t been picked. This creates a short cut to accessing extra notes that could have only been played with a complex picking pattern.
We’re going to explore this technique thoroughly over the next few exercises.
In the next module of this course, we’ll explore the many different ways we can look at Sweeping across 26 exercises.
We’re going to start this section with a few warmup ideas to get the sweeping motion comfortable, as well as establishing a good synchronicity between the left and right hands.
The next section will be based around some interesting exercises concerning 3 string sweep arpeggios.
The next section will be based around some interesting exercises concerning 5 string sweep arpeggios.
The next section will be based around some interesting exercises concerning 6 string sweep arpeggios.
In this section we’ll explore arpeggios that build gradually, across a couple of crazy exercises.
We’ll mainly see tapping warmups and building the fundamentals, with the aim to prepare you for the crazy stuff that will follow later in the course.
In this section you’ll explore interesting ways to combine pentatonic scales and the tapping technique, across a few exercises.
In this section you’ll explore interesting ways to combine diatonic scales and the tapping technique, across a few exercises.
In this section you’ll explore interesting ways to combine exotic scales (Hungarian Minor, Harmonic Minor & Phrygian Dominant) and the tapping technique, across a few exercises.
Too often are arpeggios associated with sweeping, but in the next few exercises I’m going to show you some interesting ways to play arpeggios using the tapping technique.
In the final section of this module you’ll explore tapping as an “expressive technique” across a few exercises.
In this course we'll explore the big 4 techniques of heavy metal being, Shredding, Sweeping, Legato and Tapping. However this course will show you advanced, outlandish and out of the box approaches that will alter and your improvisation and composition of lead guitar!
If you've found yourself in a rut with dated approaches to these techniques, this course aims to show you the simplest ways to make something ordinary become special and really make your lead guitar playing POP!