XML Feed

Archived Columns


Bookmark and Share

Player Style File: Yngwie

Happy new year guys, I hope you all have had a good rest period, but frankly now is the time for work, and to accompany the new site I’vetaken a new spin on my column. For the next few months, I will belooking at actual well-known players; their approach to lead licksand rhythm styles. This is not an encouragement for you to copy thefeatured artist, it merely hopes to allow you to grapple with theirstyle in 4 or so examples; a quick guide almost. The aim is toincorporate new ideas into your playing, and seeing licks in ‘real life’ situations. Thus, my examples will be a selection of both puretechnical examples and real note-for-note transcriptions by me fromthe featured player’s music.

With winter upon us, I thought that we could do with something to keep our hands warm. Hence this month’s rather predictable focus on theforefather of neo-classic shred – Sir Yngwie of Malmsteen. Knownprimarily for his melodic but ‘sometimes’ over indulgent use of speed,his use of the harmonic scale revolutionized the way guitarists saw theguitar in the 80’s. So quickly after the public had just got over EddieVan Halen, Yngwie came along and blew everyone away with his use of classical flavor to a rock context. The examples give a rudimentary feel of his style but ideally anyone interested ought to check out some of his solo (and Alcatraz) work – my favorites are his debut ‘Rising Force’ and ‘Eclipse’CD’s. Other points of mention include his work with classical orchestra and his latest two metal offerings ‘Facing The Animal’ and ‘War To End All Wars’ his cool new one I got for my 19th birthday a few weeks ago. Lastly, all examples are in Mp3 format on my website@:

www.d14andbleedingme.homestead.com/insaneguitar.html

Feel free to mail me with comments or player requests if you are dying
to see any player covered in particular… but over the next few months,
I’m going to be looking at Steve Vai, Joe Satriani, Paul Gilbert, and Shawn
Lane.

Enjoy,

Daz M
daz14@metallica.com www.mp3.com/dazmalekpour/

Example one

Firstly, it is rather important to realize what the harmonic minor scale is. Basically, it is your average natural minor with the 7th note raised a semitone – in E natural minor the 7th note is a D, soin the harmonic variant, it becomes a D#… and so on. Malmsteen usually plays in Eb minor, with his strat de-tuned, but forget aboutthis here, just play the tab – some of it is in Eb anyway. The other point is his scale playing – fast and furious, he alternate picked almost everything, so do so yourselves.

i) The two scales. Spot the difference (duh!)

ii) Perhaps his most used lick ever – believe me, I’ve heard enough Malmsteen to realize not a song goes by without this baby… it may be a little tricky at first because of the 4-note per string bits, but persevere because it crops up everywhere.

iii) A usual route of ascent, Yngwie likes to rise one one string only, with strict alternate picking

iv) No Yngwie song goes without a dabble in the diminished scale – here we have a couple of licks he uses all the time – note both the change in key from E minor to a complementing 4th higher to A minor, as well as the wild vibrato. The vibrato is a main point in his playing, an area well worth focusing on. No whammy bar vibratos either! It must be your fingers only.

v) Another example of an A minor lick plays regularly.

i) E natural minor (2 octaves)
|-------------------------------------*-----*------------------------------------|
|---------------------------------13-15-17-15-13---------------------------------|
|------------------*------12-14-16--------------16-14-12-------*-----------------|
|-----------------12-14-16------------------------------16-14-12-----------------|
|---------12-14-15----------------------------------------------15-14-12---------|
|-12-14-15--------------------------------------------------------------15-14-12-|

  E harmonic minor (2 octaves)
|-------------------------------------*-----*------------------------------------|
|---------------------------------13-16-17-16-13---------------------------------|
|------------------*------12-14-16--------------16-14-12-------*-----------------|
|-----------------13-14-16------------------------------16-14-13-----------------|
|---------12-14-15----------------------------------------------15-14-12---------|
|-12-14-15--------------------------------------------------------------15-14-12-|


ii)  E minor
|---------17-19-20-19-17---------------------------------------------------------
|-17-19-20--------------20-19-17-16-17-19-17-16----------------------------------
|----------------------------------------------16-17-16-14-----------------------
|---------------------------------------------------------17-16-14-13-14-16-14-13
|--------------------------------------------------------------------------------
|--------------------------------------------------------------------------------


-------------------------|
-------------------------|
-------------------------|
-------------------------|
14-15-14-12--------------|
-----------15-14-12\11~--|




iii) E minor
|-----15-12-14-15-14-12-17-14-15-17-15-14-19-15-17-19-17-15-20-17-19-20-19-17-22~~-----|
|--------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------|


iv)  E minor				    A minor
|----20-19-17---19-17------17-------------|----13-12-10---12-10------10----------------|
|------------20------20-19---20-19-17-----|------------13------13-12---13-12-10--------|
|------------------------------------20~~-|------------------------------------13~~----|
|-----------------------------------------|--------------------------------------------|
|-----------------------------------------|--------------------------------------------|
|-----------------------------------------|--------------------------------------------|


v)   A minor
|---------12-13-16-13-12-13-12-10---------------------------------|
|-12-13-15-----------------------13-12-10-------------------------|
|----------------------------------------13-10-9------------------|
|-----------------------------------------------12-10-9-----------|
|------------------------------------------------------12-11~~----|
|-----------------------------------------------------------------|

Example two

An important element in classical music that previously stumped all but a keyboard player was classical use of fast arpeggios – often played over two or three octaves. Yngwie’s unique style amazed all players by his melodic, clean and fast arpeggio work – this was later described as ‘sweep picking’. Here below are a few ‘arps’ (for short) in increasing complexity that may help define the neo-classical statement. In one fluid motion, the pick is stroked across the strings, instead of alternate picking each one – very much like a slower and controlled strum even. The key here is to avoid the strings ringing or being muffled – removing your hand from the fret after the note has been played helps this, or you can even muted with yourright hand, although this is a little more trickier.

i) A straight sweep, notice the direct relation to a normal barred A minor chord.

ii) The leap from the E to the A (9-14) is a position shift from the index finger on the E to the ring finger on the A, so don’t slide. Notice the conjunction of two chords in the same lick.

iii) Somewhat trickier, this lick uses tapping to spice things up. Enjoy. While Yngwie strictly never tap-swept, I won’t be covering neo-classicism in a while yet, so I included some here. Used primarily by the ‘super clones’ as I like to call them (Vinnie Moore, Tony MacAlpine, Greg Howe etc…), speed licks & ideas such as these took neo-classicism off at a tangent (in my opinion) and ‘occasionally’ (hmmmm…) helped create music and subsequently albums upon albums of emotionally drained yet hyper-technical playing. Well, make up your own minds ;o)

i) A minor				ii) A minor     E minor
|----------------5h8p5----------------|---------------12h15/19p15-----------------|
|--------------5-------5--------------|-------------13-----------17---------------|
|------------5-----------5------------|---------9-14---------------16-------------|
|----------7---------------7----------|------10----------------------17-----------|
|--------7-------------------7--------|----12--------------------------19---------|
|----5h8-----------------------8p5----|-------------------------------------------|


iii) E minor
|-------12h15p12---------15h19h20t24p20p19p15------------12h15h17t20p17p15p12-----|
|-----12--------12-----17--------------------17--------13--------------------13---|
|---12------------12/16------------------------16\12h14------------------------14-|
|-14------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|

Example three

It is an understatement to say Yngwie’s rhythm playing is not focused upon much… yet it is here that he offers some of the most beastly rhythm playing indeed. Alright, this is probably because he uses his lead techniques, but this is not always the case – I absolutely adore his acoustic playing. and if anyone has ever heard ‘Icarus’ Dream Suite’ off Rising force, you will know what I mean. All examples in E minor.

i) Far Beyond The Sun – one of my favorite pieces ever, notice the tonal changes as different scales are used here and there to build a crescendo… the use of the diminished is cool too, showing the build up in mood it can bring.

ii) Brave Heart – notice the lead breaking through. Apart from that, its good solid metal! Arrr! etc…

iii) Bedroom Eyes (live) – funk-tastic display of a different side of Yngwie. Very Nuno Bettencourt (Extreme), but hey, its cool.


i)
|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------
|------------------------------------------------6-7~-----------------6~-----------
|-4-4-4-3~---6-6-6-4~---7-7-7-6~---9-9-9-8~---8-9------7-7-7-6---6-7-9----6-6-6-4~-
|----------------------------------------------------------------------------------
|----------------------------------------------------------------------------------



---------------------------|
---------------------------|
------4~-------------------|
-4-6-7----4-3--6-3---------|
-------------------5-2-----|
-----------------------4-1-|



|------------------------------------13h14p13p10---------------------------------------
|-----------------------------------------------14-12-10-------------------------------
|-------------------------------------------------------13-11-10-----------------------
|---------------------------------------------------------------12-11-9----------------
|-------2-4-5-4-2---------------6-7------------------------------------12-11-9------6-7
|-2-4-5-----------5-4-2\1/2~----7-7-------------------------------------------13~---7-7




---13h14p13p10---------|
--------------14-12-10-|
-----------------------|
-----------------------|
-----------------------|
-----------------------|


|---------------------------------------10-13p10-------------13-16p13--------------16--
|------------------------------------12----------12-------15----------15--------18-----
|-13-11-10---------------------10/13----------------13/16----------------16-/19--------
|---------12-11-9----------------------------------------------------------------------
|----------------12-11-9---------------------------------------------------------------
|-----------------------13~------------------------------------------------------------



19/21~------13h14p13p10|
-----------------------|
-----------------------|
-----------------------|
--------6-7------------|
--------7-7------------|




|-----------------------------------------|-----------------------------------------------
|14-12-10---------------------------------|------------------------------7-6-7~--10-9-10~-
|--------13-11-10-------------------------|----------------------6-5-6~-------------------
|----------------12-11-9------------------|-4-3-4~---4-7-6-7~-7---------------------------
|-----------------------12-11-9------6-7~-|-----------------------------------------------
|------------------------------13~---7-7~-|-----------------------------------------------



--------------------|
-14-13-14-14~--19-18|
--------------------|
--------------------|
--------------------|
--------------------|



|------17-16-17~--21-20-21~---21-19-17-16-19-17-16-14-17-16-14-13-16-14p13----------------
|-19~---------------------------------------------------------------------15-14-12--------
|---------------------------------------------------------------------------------13-11-10
|-----------------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------------
|-----------------------------------------------------------------------------------------



-------------------||
-------------------||
-------------------||
12-11-9------------||
-------12-11-9-----||
--------------13~--||



ii)
				x4					      x4
|--------------------------------|--------------------------------------------------------|
|--------------------------------|--------------------------------------------------------|
|--------------------------------|------------------------8-9-11-9-8----------------------|
|---9-----8-----7-----10~--9-8---|-9~-10~-7~--------7-9-10----------10-9-7----------------|
|---7-----7-----7------9~--7-7---|-7~--9~-5~--7-9-10----------------------10-9-7----------|
|-----0-0---0-0---0-0------------|----------------------------------------------11-8-7~---|


iii)
|----------------------------------------------------------------------------------------
|----------------------------------------------------------------------------------------
|----------------------------------------------------------------------------------------
|----------------------------------------------------------------------------------------
|--5tr7~--x\----5h7-7-------5-5-5h7-----5h7-7-----5h7-7--------5h7-7-------5-5-5h7--5tr7~
|---------x\----------0-5h7---------x-x-------5h7-------3-3~---------0-5h7---------------


----------------|
----------------|
----------------|
--5-------------|
----7-5---------|
--------7-3-3~--|



|----------------------------------------------------------------------------
|----------------------------------------------------------------------------
|----------------------------------------------------------------------------
|----------------------------------------------------------------------------
|-5h7-7-------5-5-5h7-----5h7-7-----5h7-7--------5h7-7-------5-5-5h7--5h7-7~-
|-------0-5h7---------x-x-------5h7-------3-3~---------0-5h7-----------------


----------------------------|
----------------------------|
----------------------------|
----------------------------|
-5-----------5------------2-|
---7-5---------7-5--------2-|
------7-3-3~-------7-3-3~-0-|

Example four

I could not do injustice to Yngwie by not covering his pedal tone technique, could I? Well, he uses it in a very subtle way, ‘here and there’ poking out from everywhere, but rarely ever portraying it full on. Here are two examples of the way he uses it.

i) Straight pedal tone on C (fret 17, E string). Use the finger pattern provided for best results.

ii) I’ll See The Light Tonight – little pedal bit. A good example of full on pedaling without a bicycle ;o) For this one, Yngwie has been quoted as saying he used only his first three fingers… bit of a stretch for some, so do what you feel comfortable with.



i)  E minor					      x2
|----19-20-17-20-15-20-14-20-19-20-17-20-15-20-14-20----|
|-------------------------------------------------------|
|-------------------------------------------------------|
|-------------------------------------------------------|
|-------------------------------------------------------|
|-------------------------------------------------------|
     3  4  2  4  1  4  1  4  3  4  2  4  1  4  1  4

ii) Ab minor									x2
|----9-12-11-12-9-12-11-12-7-11-9-11-7-11-9-11-6-9-7-9-6-9-7-9-4-7-6-7-4-7-6-7----|
|---------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|
|---------------------------------------------------------------------------------|
     1  3  2  3 1  3  2  3 1  3 2  3 1  3 2  3 1 3 2 3 1 3 2 3 1 3 2 3 1 3 2 3

Example five

What about melody? While some may sneer in disrespect at Mr Malmsteen’s melodies, I feel that he is as strong here as anywhere else. Here is the melody from ‘Far Beyond The Sun’, off Rising Force. Make the notes quiver a bit to make them ‘sing’ in an ‘Yngwie’ way.

i) Note the stretchy sweeps and melody note choice (very ‘classical’). ‘HB’ = half bend (a semitone)


i)			     HB       HB
|-----------------------------------------------------------------------------------|
|-----------------------------------------------------------------------------------|
|--------13--14------13--14--16~--14---16~--16--14h16p14\13-13-14~~~---13h14-13-----|
|-14h16----------16-------------------------------------------------------------14--|
|-----------------------------------------------------------------------------------|
|-----------------------------------------------------------------------------------|


|------14-17p14--21p14--17p14---------|
|----14--------14-----14-----14-------|
|--14--------------------------14-----|
|16------------------------------16~--|
|-------------------------------------|
|-------------------------------------|

			     HB        HB
|-----------------------------------------------------------------------------------|
|-----------------------------------------------------------------------------------|
|--------13--14------13--14--16~--14---16~--16--14h16p14\13-13-14~~~---13h14-13-----|
|-14h16----------16-------------------------------------------------------------14--|
|-----------------------------------------------------------------------------------|
|-----------------------------------------------------------------------------------|


|---------------------------------------|
|-------14-19-17-15-14-15-14------------|
|-----14--------------------16p14-/18~~-|
|14h16----------------------------------|
|---------------------------------------|
|---------------------------------------|


Example six

Often neglected in terms of recognition is Yngwie’s blues\pentatonic style. OK so its not strictly ‘da blooz’ but some of it is quite nice – and yet again – this was an area of copy-cat playing – even Paul Gilbert owes about 90% of his now much flaunted blues style to Yngwie. This is a clip of me playing my transcribed version of the second half of the main solo (the melodic bit) to Yngwie’s live version of the undeniably funky ‘Bedroom Eyes’, taken from his ‘Live!!’ CD. I thought I’d take the live version mainly because it is a little bit more technique intense… so practice slowly! Try to catch the groove – if you can, compare the live and studio versions together for a bigger view on this area. It’s in Eb minor but do not detune guitar, the tab accomodates for this.



i)  BU	  BU LD			  BU	BU  LD 		      BU
|-----------------------------------------------------------16
|------------------------------14(16)-14(16)14p11-------------
|13(15)-13(15)13-11~~-------11-------------------13-11~~-13~\-
|---------------------11h13-----------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------


BU pick etc...
(18)-14-16p14-18p14-19-19~--21(22)21(22)21(22)~|
-----------------------------------------------|
-----------------------------------------------|
-----------------------------------------------|
-----------------------------------------------|
-----------------------------------------------|


|18-18-19-18-16-18-14-16-18-16-14-16-13-14-16-14-13-11-13-14-13-11
|-----------------------------------------------------------------
|-----------------------------------------------------------------
|-----------------------------------------------------------------
|-----------------------------------------------------------------
|-----------------------------------------------------------------



---------------------------------|
-14-13-11-13-14-13-11------------|
----------------------13-11~~~~~-|
---------------------------------|
---------------------------------|
---------------------------------|




  MB	      MB
|------------------------------------------------------
|----11h14p11----11h14p11-------------11-13----11-13-14
|-13~---------13~---------13-11-13-14-------14---------
|------------------------------------------------------
|------------------------------------------------------
|------------------------------------------------------



-11-14-16-14-11-----------------------------|
----------------16-11-14-16-14-11-----------|
----------------------------------14p13p11~-|
--------------------------------------------|
--------------------------------------------|
--------------------------------------------|



						   BU
|-14p11------11-14p11------11-16p13------13-16~~~--21(23)~~~--14
|------12--12--------12--12--------14--14-----------------------
|--------11------------11------------13-------------------------
|---------------------------------------------------------------
|---------------------------------------------------------------
|---------------------------------------------------------------


-14-14-14-13-14-13-11----11-13-14-13-11---|
----------------------14---------------14-|
------------------------------------------|
------------------------------------------|
------------------------------------------|
------------------------------------------|


|11------------------------------------------------------------
|---14-13-11-13-14-13-11----11-13-14-13-11----11-13-14-13-11---
|------------------------14----------------14----------------14
|--------------------------------------------------------------
|--------------------------------------------------------------
|--------------------------------------------------------------


----------11-13----11-13-14-13-11----11-13-14-|
-11-13-14-------14----------------14----------|
----------------------------------------------|
----------------------------------------------|
----------------------------------------------|
----------------------------------------------|

											      HB
|13-11-------------------------------------------11-13-14-13-11
|------14-11-13-14-13-11----11-13-14-13-11-13-14---------------
|------------------------14------------------------------------
|--------------------------------------------------------------
|--------------------------------------------------------------
|--------------------------------------------------------------


----------------11-13-14-13-11----------------------------|
-14-13-11-13-14----------------14~-11---------------------|
--------------------------------------13-13-11------------|
-----------------------------------------------13-11-13~~\|
----------------------------------------------------------|
----------------------------------------------------------|

www.d14andbleedingme.homestead.com/insaneguitar.html
www.mp3.com/dazmalekpour
daz14@metalllica.com

Bookmark and Share
Please vote for us!

Top 100 Guitar Sites | Top 100 Tab Sites

No comments

Leave a Reply