Chris Feener

Hello fellow shredders! This lesson will focus on a fairly simple concept, in principal, but it serves as another tool to add to your toolbox of creativity. "Displacement" serves as a handy ...

So let's take a simple Am scale passage, and apply the displacement concept to it to gain a clearer understanding. First, we'll play through the note sequence. Then, we'll shift the passage...

Let's take a look at a lead phrase that has a bit more musical depth. You'll start to recognize how the "hills and valleys" of a phrase that has a typical starting and ending point takes on ...

Try out this backing track for the first couple exercises, but futhermore, try experimenting with some of your own licks while utilizing this rhythmic thought-process. The chords bounce betw...

So now, let's see how this concept works in a "tuplet" environment. We'll be moving things ahead by an eighth triplet, then two eighth triplets, then by a full quarter note (three eighth tri...

To clue up, let's take a look at a longer phrase. This exercise extends over four bars and follows a D harmonic minor descending pattern. The challenge here is trying to block out the i...

Ho, ho, ho! Merry Christmas, Happy Holidays and all that jazz. What better way to celebrate than by serenading your friends and family with an electrified version of one of the most beautifu...

The first half of our rendition involves playing the melody in a lower register. We'll gradually climb an octave in an effort to build momentum, but for now, focus heavily on phrasing. Ensur...

In this second half, we're stepping it up a notch. The melody has crept up an octave, and we're implementing fills between many of the phrases. Be creative - The only real barrier here is th...

Enjoy playing along to the backing track! I'd love to see your rendition. Feel free to tag me on social media and I'll be sure to check it out!

So the whole goal of this lesson is to focus on breaking some of the barriers we tend to put on ourselves when learning the five positions of the pentatonic scale. We'll navigate each and ev...

Three-note-per-string pentatonics are a fantastic place to start. What we'll be doing is combining the first and second pentatonic positions and play them simultaneously, then the secon...

So let's take that concept and turn it into a blistering fretboard exercise.

This lick expands on the first by holding each position a little longer before transitioning. Be sure to ensure strings that are not being fretted do not ring out causing unnecessary noise -...

A technique made very popular by guys like Paul Gilbert in the 80's, String-Skipping is a great way to navigate the fretboard in a more sporatic way; to cover more ground. To build on some o...

The final lick consists of another blistering utilization of legato, instead this time, with string-skipping involved. Keep an eye on string noise (as always), start slow, and fun!

Hey guys! Let's hunker-down with some arpeggio play in a not-so-conformative way. We're all familiar with those oh-so-traditional minor/major sweep arpeggio sequences, so let's fill in the g...

To begin, let's keep a close eye on the shapes, but also the 16th-note picking pattern (D-U-U-U). This pattern deviates here and there throughout the etude, but for the most part, once you m...

Not much to say here! Part II begins the exact way Part I began, except now we're playing an A minor shape. Since we're further up the fretboard, however, we'll get a bit of a break on the s...

More D-U-U-U goodness! Bar 12 is where things get interesting - The patterns change a bit, finger-rolling is heavily implemented and we flip the picking pattern entirely (D-D-D-U). Be sure t...

To finish things off, let's dig a bit deeper with a few other fairly familiar arpeggios, being utilized in a bit of a different way. The first, Bm descending from the F# on the high E string...

Check out the backing track for my tutorial "Filling in the Gaps with Sweep Arpeggios" here. Try it at 160BPM!