Here we look at using asymmetrical note groupings – it’s one thing to use triplets and another
to use groups of odd numbers of notes in a count or beat. This is a good example of how I use
rhythm and melody to create interesting lead guitar lines that are not stock or standard.
This exercise makes up a complete section from my song, “The Finish Line.” It is in the key of C
major, and again utilizes a lot of passing tones. I made this in the style of Charlie Christian, who
is one of my inspirations as a guitar player. When I perform it, I add a dotted rhythm to give the
notes a “swing” feel.
This riff is in the key of G major and is from the studio version of my song, “No Boundaries.” I
use this kind of pattern because I like the flow of the notes; instead of just straight ascending or
descending, I use a technique that I call “back tracking,” where I actually use descending passages of notes while ascending up the fretboard and vice versa.