Mötley Crüe-inspired Riff sponsored by AmpKit

Posted Apr 28, 2011 at 5:57pm
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Duration 2:40
Rating 3.7 Stars · 38 Ratings
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Check out Lick of the Day, a free download for iPad, iPhone and iPod touch available at the App Store http://itunes.apple.com/us/app/guitar-world-lick-of-the-day/id371728474?mt=8 Today's lick is a Mötley Crüe-inspired low-end riff based loosely around the notes of a G7 arpeggio (G B D F) that pivot above a low G root note with a chromatic "walk-up" on the fifth string that touches upon the flatted-fifth interval, D♭ (or C♯). In terms of techniques, the lick incorporates the use of down picking, palm muting and hammer-ons. I begin in second position, fretting the low G note on the sixth string's third fret with my middle finger, so as to leave my index finger readily available to play the B note (fifth string, second fret) on the following beat. I then flatten out my middle finger so that it covers the bottom two strings at the third fret, making for a convenient transition from G to C on beat three on bar 1. However, rather than apply an actual barré technique with equal pressure across both strings, I use a "finger roll" technique to prevent the two notes from ringing together. On beat four, I shift my fret hand up the neck to hit the same low G note as before, only this time using my index finger instead of the middle. I do this to set myself up for the subsequent notes in bar 2, all of which can be played most efficiently in third position. This means that from beat four of bar 1 and continuing through bar 2, my index finger plays all notes at the third fret, no matter which string they're on, my middle finger plays the fourth-fret notes and my ring finger handles any notes at the fifth fret. This kind of position playing allows for more economical fret-hand movement and helps facilitate clean, accurate rhythms. On beat three of bar 4, after playing C on the A string's third fret, I silently slide my index finger down to the first fret to play B♭, then scoot it over to the low E string at the same fret to play F. The muted, chunky-sounding attack on many of the riff's low G notes is the result of a pick-hand technique known as palm muting. Indicated in the notation by the abbreviation "P.M.," palm muting is performed by resting the fleshy part of your pick hand's palm just in front of, or slightly on top of, the guitar's bridge as you pick. I'm using down picking throughout the riff, with one exception, during beats three and four of bar 2, wherein I hammer-on from F (D string, third fret) to G (fifth fret). For those new to lead guitar playing, a hammer-on in this case describes when I literally hammer my fret-hand ring finger down firmly onto the D string's fifth fret to sound the G note without picking the string again. The tempo is 130 beats per minute, 85 for slow practice.
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