Now, I’m constantly writing my own music, whether it’s for my own projects, YouTube videos, or my academy lessons. Heck, I don’t even really learn the cover songs I play at my solo acoustic shows. I just learn the chord progression and make my own rendition. This was different. I couldn’t just learn the gist of the songs; I had to know these riffs, inside and out.

I’m going to take you through everything I did to learn these songs and how you can use these tips if you get this type of opportunity. I’ll also point out some things I would have done differently. And at the end, I’ll share the playlist as well as where to see the entire journey of my first show with Nasty Savage.

Here’s the video version of how I learned these songs:

Get the Setlist and Build Your Playlist (ASAP)

As soon as I got the gig, I confirmed the setlist and created a playlist of those songs. I use Apple Music, so it was easy to create the playlist. One thing I didn’t do that I recommend doing is put the songs in order. Yeah, no-brainer. But for whatever reason, I didn’t do that until after the fact.

Not every band will have a setlist nailed down, especially if the gig is further out. But chances are they have some core songs they’re going to play and that their fans expect. So get started with those. You can add the rest later.

In my case, Nasty Savage had been playing the same setlist for the past year or so. There were 10 core songs we knew we were going to play. And we had one in the tank, which we ended up playing all 11 at the Running Free Festival in Bulgaria. That was my first show with them. More to come on that later.

Passive Listening

Another thing I started doing right away is passive listening. Actually, as soon as Dave (Dave Orman, their guitarist I filled in for) sent me that text asking me if I could play, I started listening to Nasty Savage’s core songs (I had spent some time listening to their latest album Jeoporady Room when it first came out, but this was a few years prior).

Once Ronnie (Nasty Ronnie) confirmed the gig, I made a point to listen to nothing but Nasty Savage. So I constantly had the playlist running while I was at the gym, in the car, and at home when doing work that didn’t involve me filming. It was always in the background.

Of course, I started actively listening right away, too, and we’ll talk about that coming up. But having these songs constantly running through my brain really helped. When you hear the same songs over and over, you start noticing things like where the changes are, and you even start anticipating those parts.

What is the Band Tuned To?

Before I get into active listening, there was one major change I had to make. Nasty Savage has been playing all of their live shows in D standard tuning. Now, the caveat is that their early records, which make up the majority of the setlist, were recorded in E standard. Jeopardy Room was recorded in D standard.

I mainly play in E standard, so all of my guitars are tuned to that. But what’s really strange is that a couple of months before all of this happened, I tuned one of my guitars that I don’t play often to D standard. Was this one of those synchronicity type of things? Who knows, but it sure worked out perfectly.

So I was able to practice the early songs with my main guitar (Ibanez Prestige RG1570) and work on the few songs we were doing off of Jeopardy Room with the other guitar tuned to D. I ultimately tuned my Ibanez to D standard before practicing with the band, as I knew that’s one I was going to use for the live shows. All that said, if you ever have this type of opportunity, make sure you find out what tuning the live shows are in sooner than later.

Active Listening

Active listening is just that. My sole focus is on the music. During this time, there are no distractions, no phone, no watching or trying to do anything else. This is also the time when my guitar is in my hands. And I’ll break this down into a few methods that I used.

For one, before I started trying to play any of the parts, I would just listen. And listen deeply. And I would focus on one song at a time. Only then would I go back and start breaking down the parts. If you start trying to play along too soon, you’ll miss certain details.

I also found a few live shows of Nasty Savage on YouTube. This was even more helpful for two reasons. All of the songs were being played in D standard. And like many bands that have had lineup changes over the years, the way certain parts are played may have evolved.

Some of these songs had a lot of different parts and changes. They weren’t the typical verse, chorus, repeat, bridge, etc. So I went old school and got a notepad and pen, and started writing down the different sections of these songs.

For example, I would write ‘Intro – 4x’ and the line underneath would have ‘Main Riff – 2x’ then ‘Main Riff 2 – 2x’ then ‘Hard Riff 2x’ and so forth. I would write what made sense to me, and in a way I knew what that part was, and how many times it was played.

Breaking Down the Songs

As I got deeper into learning the songs, I started to hear which songs had more complexities than others. And let me just tell you, some of these riffs are all over the place, technical, and in some cases, just odd to play. I think the original guitarists of Nasty Savage, Dave Austin and Ben Meyer, specifically wrote them for that reason. Pete Sykes and Dave Orman wrote some fast, technical riffs for Jeopardy Room, too. So, yeah, this was all quite challenging for me.

My thinking was to learn the less-complex songs first (and even those had some tricky riffs thrown in there). Once I did that, I was left with about three songs that took more time for me to nail down. Those were: Jeopardy Room and The 6th Finger (off the Jeopardy Room album), and You Snooze You Lose (this is a longer song with many parts, and it’s where Ronnie is smashing TVs on stage).

One important tip I can leave you with for fast, technical riffs is: break them down into small parts and practice those parts super slow. It’s almost impossible to play those riffs tight when you’re guessing the notes. So get the notes ingrained in your head (and fingers) first. Then it’s easier to speed it up.

Why I Didn’t Bring My Guitar to the First Practice

You might be surprised that I didn’t bring my guitar to the first Nasty Savage practice. There’s a good reason for that. I simply was not ready.

The guys already had a practice set up on Saturday just a few days after I got the gig. I was nowhere near the level where I could play along.

To me, band practice is not where you go to learn the songs. It was my job to be prepared before practicing with the band. This is the expectation when you play with professional musicians and a touring band like Nasty Savage.

So, why did I go to practice if I wasn’t ready yet? First, I wanted to soak in that experience of hearing everyone play and just feeling the energy of the band. Secondly, I filmed guitarist Pete Skyes playing. This came in handy later because there were some parts I had a tough time figuring out. Having those video clips helped a lot when I got back to my studio to practice.

By the next practice, I was ready. As a band, we had 3-4 practices before our first show. It felt like I had been playing with these guys for years. They’re all phenomenal musicians, and just all-around cool dudes.

Nasty Savage members:

• Ronnie Galletti ‘Nasty Ronnie’
• Pete Sykes – guitar
• Jim Coker – drums
• Kyle Sokol – bass
• Dave Orman – guitarist I filled in for

One-on-One Time with the Other Guitarist

Another thing that really helped was getting with Pete, one-on-one. We did this twice. Once, to get my rhythms tighter and go over some of the areas I was having trouble with. We met up a few days after the first practice playing with the band.

The second time was to get the solo sections down. Nasty Savage has always had two guitarists who alternate solos. That’s one of the many highlights of playing with this band. And I’m really grateful that Pete was willing to spend the extra time with me.

If you’re going to be playing with a seasoned band, whether joining it or just filling in as I did, I strongly recommend spending a session or two with the other guitarist. That can make a big difference.

Always Being Ready for the Opportunity

When I got the text from Dave Orman, I was pretty stoked. But he would’ve never asked me if he didn’t think I could pull it off. And again, this was within a short timeframe.

I had Dave here in my studio and on my YouTube channel soon after the Jeopardy Room album was released. And I’ve known Ronnie for a few years now, and I had met Pete and Jim several times. I actually had a short interview with Pete a while back, giving tips for musicians that I featured on my channel.

There are some things I want to point out. Yes, you must have the talent. That’s a given. Had I not been consistent with guitar throughout my life, this opportunity never would have come to me.

You want to stay on top of your craft, whatever it may be. Don’t let it slip away. Don’t just do it when you have time. Make the time. Make it a priority.

I also believe you need to be pleasant and easy to work with, and supportive of other bands and musicians. It also helps to be plugged into the scene around you. Don’t be afraid to put yourself out there.

The Nasty Savage Setlist (and My Playlist)

Alright, here’s my own Apple Music playlist of the exact setlist we played (minus the 11th song, Savage Desire, not available for streaming):

Nasty Savage Playlist on Apple Music

For their other releases:

Savage Desire (from Wage of Mayhem Rarities)

Nasty Savage on Bandcamp

My First Gig with Nasty Savage

First, a huge thank you to Nasty Ronnie, Pete Sykes, Jim Coker, and Kyle Sokol for letting me share the stage with you. This was a true honor and a moment I’ll always treasure. And thank you to Dave Orman for reaching out and recommending me.

My first show with Nasty Savage was playing at the Running Free Festival in Bulgaria (August 29th, 2026). My wife came with us to film and capture this experience. I’ve got the post with the video here:

My First Show with Nasty Savage (Running Free Festival in Bulgaria)

Keep it Metal,

Jason

The post How I Learned 11 New Songs in 3 Weeks to Play Live Shows (with Nasty Savage) appeared first on Jason Stallworth.

There’s a backstory here, and it’s more of a drama series about me and 7-string guitars. You see, I owned a premium 7-string for a few years. I even recorded an album with one. But I had this ‘love/sorta dislike’ relationship with. Bottom line, I just couldn’t get 100% comfortable playing it. It was me, not the guitar.

So I actually gave up playing 7 string for a while. Until I had this itch that would not go away. I was missing that extended range. I also have this project that’s been on the back burner for longer than I’d like to admit, and I’ve always wanted that to be created with a 7-string. As soon as these thoughts started brewing, I knew I needed to get my hands on one. This itch was not going away.

Why I Chose this Specific 7-String Guitar

That said, there were three things I had in mind. First, I knew the issue I had with my prior 7-string was the neck. Again, this was a ‘Jason-issue,’ not the guitar’s fault. Now, you’ve seen countless videos of me playing my Ibanez Prestige RG1570 on my YouTube channel, in my academy, and in live shows. The Ibanez Wizard necks fit my hands perfectly. So it made sense to go with an Ibanez RG series for a 7-string.

I prefer thinner necks, so the Wizard necks in the RG series are perfect. Some guitarists like the thicker necks; those have always felt kind of weird to me. Though I will pick up an S-shape now and then (like my Telecaster). But that shape clearly did not work for me for a 7-string guitar. It’s the Ibanez Wizard, all the way.

Box number one, checked. Secondly, I had been telling myself for the past several years that my next guitar is not going to have a floating tremolo. I love having access to a whammy bar, but I don’t use it that much, and when I do, it’s subtle. So this next guitar was going to have a fixed bridge. That’s not to say I won’t have a 7-string with a floating trem in the future.

The other thing is, I wanted a 7-string with passive pickups. The last 7-string I had came with actives. And I used to play primarily with active pickups. But over the years, I’ve come to prefer passives. For my style of playing and my approach, and that’s a big part of what makes up your preferences, passive pickups seem to have more character and clarity.

Jason’s YouTube Review of the Ibanez Prestige RGR762AH

Here’s the video version, where you can hear some tones. By the way, that intro mix is something I’m going to expand on. It came out of nowhere. Starts out melodic, but takes a twisted turn. You’ll hear what I’m talking about in the video.

Ibanez Prestige RGR762AHBF Specs

Alright, all three boxes are checked, and the Ibanez Prestige RGR762AH was the guitar that kept standing out to me in my quest for attaining a new battle axe.

Of course, there is much more to this guitar than just ‘what Jason wanted.’ Here’s a quick rundown of the specs with some sidenotes of my own.

• Wizard-7 5-piece maple/wenge neck – The ‘wenge’ blend is known to be rigid, protecting the neck from warping, and also just gives it a really cool look.
• Bound rosewood fretboard – This has a smooth, natural feel and complements the thin neck for effortless soloing and overall playability.
• Jumbo frets (24) with the Ibanez Fret Edge Treatment – This is a ‘done by hand’ process on the fretboard, basically making sure everything is perfect.
• Gibraltar Standard III-7 bridge – This is my first guitar with this specific bridge, but after reading up on Gibraltar, they’re known for their tuning stability.
• Gotoh locking tuners – I want to put these on every guitar I own, at some point. Also, this guitar has a reverse headstock.
• Ash body – I was pleasantly surprised by how light this guitar was when I pulled it out of the case; this is a huge plus for me because I’ll be playing this on stage.
• Weathered black finish – It just looks insanely cool, and no fingerprints!
• DiMarzio® PAF® 7 (Humbuckers), Passive/Ceramic (2 – bridge and neck) – Very happy with the clarity and punch I’m getting from these pickups. There’s also a 5-way switch, and the usual volume and tone knobs.

The Prestige RGR762AH also comes with an Ibanez hardshell case. It’s form-fitting and has upgraded heavy-duty latches (these are much easier to work with than the traditional guitar case latches). They also include the inspection card, which is a nice touch, and a multi-tool for working on your guitar.

Note: The RGR762AHBF originally came with 10s (D’Addario® EXL110-7, .010-0.59). These strings made the guitar play really tight, which is perfect for those low, B-string riffs. But since I’m used to 9s, I ended up with a hybrid approach for strings. I bought a pack of my usual Elixir Nanoweb superlights (.09-.042), and a .056 gauge for the 7th string.

This still gives me the tightness plus the ability to bend strings with ease. I may play around with this more, like put a .059 on that 7th string (sometimes a subtle difference can end up being a huge difference). I may also try the custom lights. Of course, I’ll share that experience on my YouTube channel if and when I make a change.

What’s Next in the Land of 7 String Guitar?

Some cool stuff has already happened in the first month of me having the RGR762AH. First, there’s an influx of new riffs and song ideas coming out. There’s a project that I’ve had in my head, and even started writing for this over a decade ago. It’s a bit darker while still melodic, and I had told myself this really needs a 7-string for it to have the impact I’m looking for. More to come on that.

I also just released a new course in my academy called 7 String Apprentice, and I created that course with this guitar. So, if you’re in the Jason Stallworth Guitar Academy, it’s there, patiently waiting for you to start it.

I also plan to include more 7-string riffs and content in the academy (look for 7 String Madness coming soon…this will be a growing library of 7-string riffs).

Of course, more YouTube videos for 7-string guitar are in the works, and you’re seeing those now. I’m just having a lot of fun with this guitar. It’s cool how a 7-string can change the way you write and the style that just organically comes out with that extra string. And I’ll be sharing that with you along the way.

If you want to grab this guitar, you can get it at my Sweetwater link here: Ibanez Prestige RGR762AH at Sweetwater

If this isn’t quite in your budget, I would look at the RG7420EX, and there are some cool 7-strings in Ibanez’s Iron Label Series, the Steve Vai signature UV70P, and several others. These are a bit more affordable. And you’ve heard me say this in many YouTube videos; you can’t go wrong with Ibanez.

So, that’s my thoughts on the Ibanez Prestige RGR762AH 7-string. This is only the beginning. Stay tuned for much more from this guitar.

Keep it Metal, and Keep Playing Music,

Jason

The post Ibanez Prestige RGR762AH 7-String Review and 3 Reasons Why I Chose this Guitar appeared first on Jason Stallworth.

I’m sharing these with you because even if you implement just one of these things, I think it could help you expand and grow into a version of yourself you never imagined, regardless of what style or genre you play.

The Backstory (the short version)

We’re going to go back a few decades here. Back to the time when the phrase ‘be kind, rewind’ was often heard when you’re trying to find the new release of Nightmare on Elm Street.

There was this dude at school who had long hair, wore a jean jacket covered in patches, and always air-drumming with his headphones on, happy, in his own world. I heavily (no pun intended) admired this guy. I think his name was Kevin (if I recall, we went to Ransom Middle School and Tate High School together).

As timid as I was back then, I built up the courage to ask him, “Hey man, what are you listening to?”

He pulled away one of his headphones and said, “Metallica!” and went back to air-drumming. He knew he had sold me on heavy metal.

So that week, I took $20 I had from mowing people’s grass and bought the two cassettes, ‘Master of Puppets’ and ‘And Justice for All.’

It wasn’t long after that when I picked up my Uncle’s old acoustic that had four rusty strings. I just started messing around with it. I ultimately picked out the single notes of Sabbath’s Iron Man. My uncle saw that I was serious and picked me up some new strings and a Mel Bay chord book.

I dove in headfirst. A month or so later, my parents teamed up with a local musician that my dad grew up with, and we got my first electric guitar. After hearing Metallica and discovering other guitar-driven music, I didn’t want to just listen to it. I needed to be a part of it.

If you want the full version of this story, I’ve got it in my book Heavy Metal and Weights.

Playing in Different Keys, and Sometimes Different Styles

I grew up going to a small church in Cantonment, FL. I think it was a Pentecostal Holiness church. No, we didn’t handle snakes or anything like that.

We had a small music group, and there was a guitarist named Ronnie Goodman. He was more of a jazz/blues player. Not my style at all. But I was always amazed by his playing. He would play the chords to the songs, which were mainly really old gospel hymns. But then he would break out and play solos. And I could tell he was just making up the notes and melodies. That was my intro to improvising.

So my friend and I, Alex Green, ended up playing in the church band. Alex was about a year ahead of me as a guitarist. And we were both into all kinds of metal and rock n’ roll. But more than anything, we just wanted to play our guitars.

As you would imagine, these old hymns were not what we were used to playing. And pretty much every song was played in what I call piano-friendly keys (not guitar-friendly) like A♭, B♭, E♭.

Ronnie insisted that we learn the chords to the songs, which we were using bar chords. Then he would point to us when it was time for a solo. That’s when we had to make up something. Alex and I would switch off and on with our leads.

There were no tabs, and neither of us could read music. We just had to memorize the chords and make up our own solos.

Now, it should be obvious that when I was home, I was learning songs by Metallica, Guns N’ Roses, Whitesnake, and Scorpions, along with some hair metal bands.

So it was metal at home, and gospel hymns in weird keys on church days.

What did this do for me? It forced me to learn the fretboard in a way I never would have learned it otherwise. It also broadened the way I hear music and the way I write my own music. And I can sit in with just about any band and play along. That’s a really cool skill to have.

I’m not suggesting that you grab a book of hymns and learn gospel music. And I’m not suggesting that you play stuff you don’t really like. But you will be surprised how playing music in different keys, and in some cases different styles, can help you grow tremendously as a musician, and even make you better at playing the style you do like.

Improvising Along with the Radio

There were two radio stations in the area of Pensacola, FL that played rock: TK-101 and WABB FM-97. There were a couple of others, but I don’t recall the names.

TK-101 played the harder stuff like Whitesnake, Def Leppard, Dokken, and GnR, etc. WABB FM-97 would dip into that sometimes, but mainly played pop-rock, stuff like Genesis, Madonna, Prince, Richard Marx, The Outfield, and those types of bands.

As much as I loved metal, I also loved 80s rock, in general. And even most of the pop stuff, too. But here’s where the magic happened for me, and I didn’t even realize how this impacted me until years later.

I would listen to the radio for hours while having my guitar plugged into my amplifier, and just make up solos along with every song. I would try to get the chord progression down first. Not necessarily learning the riffs or the solos note-for-note. But I’d hear the underlying chord progression and just play power chords to that, followed by improvising solos.

The thing is, almost every song was a different key, sometimes a different style, and often a completely different feel.

You can see how that fits what I was doing in church. Learn the gist of it, then improvise. Of course, jamming along with the radio, those old yet huge speakers cranked up with my amp, I was playing along with the music I love, and that passion was growing by the day.

You can do this, too. These days, we have streaming and the ability to start your own radio station based on a song. Chances are, you have several stations and playlists of different styles and genres.

Press play, then plug in your guitar and just let yourself go. Get the basic progression down, and then start making up some licks that fit that key. The more you do this, you will be amazed by what you come up with.

Jamming With Other Musicians

As you’ve learned, I was jamming with other musicians the moment I started playing guitar. Well, maybe a month or so after.

I mentioned my friend Alex, who had been playing for about a year before I started. The guy is still a phenomenal guitarist. I remember him showing me and Ronnie this tapping technique with his pick that he had figured out. It was crazy. And it was cool.

We’d jam constantly, at his house, at my house, anywhere and everywhere. One time, we set up our amps on my porch, cranked them super loud (we really didn’t know any better back then), and someone called the cops.

Of course, we were also playing together in church with Ronnie. Ronnie (rest in peace) was not only an insanely talented blues/jazz guitarist, but he was also encouraging in a way that stuck with me forever. He always pushed us to play our way. So when you hear me say like a broken record to “Focus on developing your own style,” that’s where it came from.

If Ronnie was strumming on his acoustic, I couldn’t just play the same thing. I had to create something that complemented that (I was always playing my electric). There was also the piano, which was the culprit of most songs. Alex and I also learned to play bass, as that was a missing part (3 guitarists with no bass isn’t ideal).

Soon after Alex and I were playing, some of our friends picked up instruments (Matt Gainey was on bass, Matt Patrick on keys), and we formed a little group called Revelation. We never wrote anything but just jammed, and we also played some of the songs Ronnie had written.

Why does this matter? I learned not to just play notes. I learned to feel what I was playing, and most importantly, to listen. Guitarists are notorious for wanting to be the center of attention and be heard over everything else. But I realized early on that really honing in on all of the other instruments, that everything had its time and place, and everything needed to flow together to make something sound really amazing.

One Thing Leads to Another. It’s Part of the Journey

Let’s fast-forward a little to when I graduated high school (barely) in 1993. That summer, I got introduced to this dude Eddie Gray, who has remained one of my closest friends to this day. He managed a band called Palin Genesia, which means ‘A New Beginning’ in Greek, or something like that. They needed a lead guitarist.

We were sort of an alternative rock band with the caveat of having 80s-style solos (blame me for that). This was a strange time in music because grunge was in full swing, and guitar solos were swept under the rug for a brief time. But we were booking shows. That was a really cool experience.

As many band stories go, after about two years, everything fell apart. People wanted to go in different directions, or lost passion for the band, or whatever the case was. The band was no more.

After being on stages in front of hundreds (these were smaller shows), I was hooked and could not stomach the idea of not playing live. So, Eddie and I formed our own band, and we called ourselves ‘The Guys.’ We wrote originals and threw in a few covers to make a full set.

After a couple of shows, we even landed a slot at Springfest in 1999, a huge deal for us. Eddie Money performed on the stage next to ours that day, which I thought was cool.

For that Springfest show, we brought in another guitarist, Tom Sherman, who also remains one of my closest friends. For some reason, he wasn’t captured in the pic below. Not sure who was on camera duty that day (this was before the world of cell phones capturing every moment).

The Guys was also short-lived. I ended up moving to Tampa (this was around 2000), but from there on, I’ve always played live music in some capacity, whether with bands or playing solo acoustic shows. And I always will.

Playing in Front People Will Make You Better, by Default

You get it. Playing with musicians can really help you expand your guitar skills and become a better overall musician. You learn how to fit in the pocket, how to listen to the music overall, and really hear everything that’s going on, dynamics, when to be heard, and when to pull back. I could keep going.

But there’s another important element that goes right along with that, and it’s simply playing in front of people. You want to talk about developing a strong sense of playing guitar on top of a completely different skill? Performing in front of a crowd, big or small, will do just that.

Look, it’s easy to sit in your room and jam. It’s comfortable. Nobody’s watching, nobody’s judging, you can stop and start again, fix mistakes, and there’s no pressure.

If you’ve never played in front of a crowd, here’s what I urge you to do. Learn 2-3 songs (or write your own), and go to an open mic. Even if you don’t sing, just bring your guitar and play for a few minutes. Heck, it may even just be a short guitar solo that you wrote.

I can almost promise you that you will become addicted to playing in front of people, and you will become a regular at your local open mic. So, yeah, do a quick search for open mics in your area and show up (with your guitar).

Pause (this is the pause while you search for open mics, because I’m serious about your doing this).

What’s Next for You?

When I look back over my own journey, these experiences shaped me more than I ever realized at the time. And I genuinely believe they can make a massive impact on your guitar playing, too.

Sure, some of this stuff isn’t traditional guitar learning where you’re told you have to study theory like it’s homework for a major exam, and learn the song perfectly, note for note, or you get a smack on the wrist.

Through the road I traveled, it was more about expression and creating. I’m not an anti-theory guy by the way (I later realized I had inadvertently learned a decent bit of music theory, mainly simply by playing in all those non-guitar-friendly piano keys!).

In the end, it’s not about replicating what someone else can do or has done. It’s about what you have to say through your music. It’s about developing your own style.

So, a few takeaways for you:

1. Stretch yourself by playing in different keys (and even different styles).
This is one of the fastest ways to learn the fretboard, understand music at a deeper level, and become more fluid and confident when you improvise. When you step outside the one or two keys you always play in, you open new pathways in your head and fingers, and I’ll even say from deep within. And this, in a weird way, actually makes you better at your preferred genre and style. Don’t fight me on this. Trust me and just do. it.

2. Jam with other musicians every chance you get.
Even if it’s just another buddy who plays guitar. Or if you can jam with a group. Or search online for people in your area to play music with. Even better, make friends at open mics and start jamming together there. So many things open up when you get out of your bedroom (and get out of your own head) and play music with other musicians.

3. Play in front of people. Your cat doesn’t count.
I’ll revert to open mic if you’re new to this and haven’t played in front of anyone. Or you could play at gatherings (friends, family, cookouts, movie night…just don’t play during the movie unless the movie sucks). When you become comfortable playing in front of people, it builds this hidden, secretive skill that you never knew you had.

Thanks for spending these few minutes with me. It was like having a nice chat over a beer or coffee. I do hope you got some encouragement out of this and are ready to take this next step in your journey.

On that note, no pun intended, I do have a guitar academy. Check it out. See if it’s for you.

Keep it Metal, and Keep Playing Music,

Jason

The post These Non-Traditional Methods Changed My Life as a Guitarist appeared first on Jason Stallworth.

In this lesson, I’m sharing 4 alternate picking exercises designed specifically for death metal guitar. These aren’t random drills. Each one is tied to a real, practical riff you can actually use. The goal here isn’t just to practice the technique. It’s to train yourself to play like a real death metal rhythm guitarist.

These four exercises cover everything from galloping patterns and tremolo picking to pedaling riffs and crossing strings at high speeds. They also help you build the three things every death metal player needs:

• tightness
• stamina
• picking-hand control

And if you’ve ever struggled with your speed falling apart, your picking sounding inconsistent, or your riffs feeling “off,” these exercises will help you fix that, one step at a time.

Before we dive in, here’s a quick look at exactly what we’re going to cover:

Galloping + downpicking (the foundation of old-school death metal)
Single-string tremolo picking for speed & endurance
Moderate-speed “pedaling” riffs for stability & timing
Tremolo picking across two strings, the next level of alternate picking
Tabs included in each section so you can follow along

Whether you’re into the classic death metal bands or more melodic extremes, these ideas will help you sound tighter, heavier, and more confident. They’ll also give you the tools to write your own killer riffs.

Watch the full video here to hear all 4 riffs in context and follow along with each exercise:

Exercise 1: Galloping + Downpicking (The Foundation of Death Metal Rhythm)

The first technique we’re working on here is the classic gallop, but not the gallop by itself. In this exercise, you’re mixing the gallop with isolated downpicking and then tying it all together with some wicked-sounding power-chord variations to give it a real death-metal feel.

If you want to hear this section in the video, jump to 00:36.

How the Gallop Actually Works

The gallop is really just a short burst of alternate picking:
down–up–down (1-2-3), repeated in quick succession.

On its own, it gives you that charging, forward-moving feel you hear in bands like Death, Obituary, and early 90s Florida death metal.

But for this exercise, we’re not just galloping non-stop.
You’re combining two elements:

1. A single, isolated downstroke

This is NOT part of the gallop. Treat it like its own musical idea.

2. A gallop immediately after

Down–up–down, tight and controlled.

There’s a very slight pause between the isolated downstroke and the gallop. That micro-pause is what makes the rhythm hit harder and feel more intentional.

This alone is a killer way to tighten up your picking hand.

Adding Power-Chord Variations (Essential for Death Metal Feel)

To really make this sound like death metal, and not just a generic picking drill, we’re attaching a pair of chord variations to each pattern.

Here’s the idea:

• Play a D power chord (A and D strings, frets 5 and 7)
• Then shift to a darker variation on the same root (frets 5 and 6)
• Move the whole thing down a half step and repeat the pattern

This gives you a heavier, more dissonant feel that’s perfect for building real-world riffs.

Musically, this is similar to the type of rhythm work you hear in Death’s “Crystal Mountain”, where a simple rhythmic idea becomes powerful because of chord movement and note choice.

Full Exercise (Tabs Below)

Here’s the exact picking sequence you’re practicing:

• Downstroke
• Pause
• Gallop (Down–Up–Down)
• Chord variation 1
• Chord variation 2
• Move down a half step and repeat

Scroll down to the end of this section for the tabs.

The video walks through this slowly, step-by-step, so if you need to see my hands and hear the timing, jump to 03:00 in the video.

Once you get the pattern down, start adding your own notes and chord variations. That’s where the real creativity kicks in.

Tabs for Exercise 1

If you want another tightness-building technique to pair with this exercise, check out my post on eliminating string noise. It goes hand-in-hand with the picking control you’re building here.

Exercise 2: Single-String Tremolo Picking for Speed, Stamina & Control

The second technique we’re digging into is straight-up tremolo picking, that fast, relentless alternate picking you hear in so many classic death metal riffs. This exercise is all about building stamina, control, and endurance in your picking hand.

If you want to see me break this down and hear how it should sound, jump to 03:32 in the video.

The Four Notes You’ll Use

This exercise uses only four notes on one string (A string):

• 8th fret
• 7th fret
• 4th fret
• 5th fret

You’re simply playing those notes in that sequence. Nothing complicated.

The challenge isn’t what you play, but how you pick it.

Adding Tremolo Picking (The Death Metal Engine)

Once you know the notes, add fast alternate picking to every note in the sequence.

This is pure tremolo picking, consistent, controlled, and aggressive. And it forces your picking hand to stay tight and relaxed at the same time.

If you find your picking arm locking up, that’s normal. Tremolo picking is one of the most physically demanding techniques in extreme metal.

Why I Let the Last Note Ring Out (and Why You Should Too)

When you repeat this pattern, you’ll notice I let the final note ring out slightly instead of tremolo picking it non-stop.

That serves two important purposes:

1. A built-in micro-break

Continuous tremolo picking for long stretches can fry your hand.
This tiny pause gives you breathing room while still keeping the riff musical.

2. A songwriting tip

Letting that last note ring gives the riff more space and keeps it from sounding like a wall of noise.

You’ll hear this type of phrasing in old-school bands like Malevolent Creation, especially in Fragmental Sanity, where tremolo lines breathe just enough to stay musical.

Two Tips to Make This Sound Tight (Not Muddy)

Use a very light palm mute

Not a full chug…
Just a whisper of muting to tighten up the attack.

Fast alternate picking can get messy and noisy. That slight mute keeps everything controlled.

Take breaks

This exercise is physically demanding.
Practice it a few times, pause, reset your hand, and then go again.

Tension kills speed.
Relaxation and repetition build it.

Tabs for Exercise 2

Exercise 3: Moderate-Speed “Pedaling” Alternate Picking for Timing & Stability

This next technique isn’t about blistering speed. It’s about control, rhythm, and locking into the groove with rock-solid alternate picking.

This style of riffing is extremely common in classic death metal, and honestly, it can be more challenging than fast tremolo picking because the timing has to be dead-on.

To see me demo this in context, jump to 06:26 in the video.

What Makes This Exercise Different?

Unlike Exercise 2 (fast tremolo), this is moderate-speed alternate picking on a single string, with strategically placed power chords to build context.

It simulates what a real death metal riff feels like, that steady, machine-like “pedaling” on the low string while the chords give the riff shape.

You’ll practice:

• steady alternate picking
• a consistent light palm mute
• clean transitions from pedaling → chords

This is the stuff that tight rhythm guitarists are made of.

The Core Pattern (Pedaling on the Low E)

You’ll alternate pick the low E string with a tight palm mute.
This steady 8th-note (or 16th-note) pulse is your “engine.”

This pedaling technique shows up all over classic death metal, especially in Obituary, where the riffs often feel heavy, simple, and hypnotic because of this exact picking pattern.

The Chords You’ll Add

To keep this from being just a mindless picking drill, we’re adding real-world power chord movements:

• G power chord
• F♯ power chord
• B♭ variation (6th + 5th fret)
• A variation (5th + 4th fret)

These give the riff weight and movement, so you’re practicing music, not just mechanics.

It turns the exercise into something that actually sounds like a riff, not a sterile drill.

Why Practicing This With Metal Drums Helps Immensely

Because timing is the whole point of this technique, play along with something rhythmic:

• a metronome (fine, but boring)
• a simple metal drum loop (way better)
• Toontrack EZDrummer, Bogren Digital’s Krimh Drums, etc.

Even a basic blast beat or mid-tempo groove will make this feel more musical and help you stay in the pocket.

Pro Tip: Start Slow, Not Fast

This riff isn’t meant to be ultra-fast.

The whole point is to pull things back, groove into the alternate picking, and get extremely steady and controlled.

If you want a deeper dive into this mid-tempo tightness, you might like my post on
5 Metal Guitar Techniques to Take Your Riffs to the Next Level.

Tabs for Exercise 3

Exercise 4: Tremolo Picking Across Two Strings (Advanced Death Metal Technique)

This final exercise looks simple on the surface, but it’s actually the most advanced alternate-picking drill in the entire lesson.

Why?

Because instead of tremolo picking on one string, you’ll be jumping between two strings while keeping your picking perfectly even and controlled, a core skill in classic death metal.

If you want to watch how this sounds in real time, jump to 09:42 in the video.

Why This Exercise Matters

Tremolo picking across strings is one of the fastest ways to expose (and fix) weaknesses in your picking hand:

• picking angle
• string tracking
• timing
• palm muting control
• stamina

It’s also one of the trademarks of iconic death metal riffing, think Morbid Angel’s “Rapture” or the chaotic picking patterns in Cannibal Corpse’s “Hammer Smashed Face.”

This exercise will help you build the control and accuracy needed to play riffs like that, and write your own (which, you know, I strongly encourage you to do!).

The Notes You’ll Play

This pattern uses only four notes, but the string changes make it challenging:

Low E string:

• 4th fret
• 5th fret

A string:

• 7th fret
• 6th fret

Even though the notes are simple, the movement between strings is where you’ll sharpen your technique.

Break This Riff Into Two Pieces (Important)

To keep this from feeling overwhelming, don’t try to learn the full pattern immediately.

Step 1: Learn the first half only

Alternate pick:

1. E string: 4 → 5
2. Move to A string: 7 (tremolo pick a little longer)
3. Release

This small chunk helps you master the “string jump” from the E to the A string.
If it’s messy at first, that’s totally normal. This is the whole point of the exercise.

Step 2: Once the first half feels natural, add the second half

Now go:

• A string (7) → back to E string (5)
• Then continue the pattern with 6 and 5 as shown in the tabs

Here’s the cool part:
Once your hands start locking into the motion, the whole riff begins to “glue together” almost automatically.

Palm Muting Tip (Crucial for Cleanliness)

Use a light, on-off palm mute, not a full, heavy mute.

This does three things:

tightens the attack
reduces string noise (which gets loud with tremolo picking)
makes transitions between strings cleaner

Don’t overthink it. Use your intuition.
As you develop the feel, you’ll naturally know when to mute more, mute less, or lift off entirely.

This is a huge part of sounding tight, especially at higher speeds.

Practice Strategy

• Play through the pattern once, then pause
• Shake out your hand
• Go again
• Insert “micro breaks” as needed

This keeps your technique sharp without building tension or bad habits.

If you want to go deeper into cleaning up noise and muting across multiple strings, you might like my post:
How to Eliminate String Noise and Play Tighter Metal Guitar Riffs and Solos
(Internal link goes here)

Tabs for Exercise 4

Classic Death Metal Songs That Use These Picking Techniques

If you want to hear real-world examples of the techniques from this lesson, tremolo picking, pedaling, galloping, and multi-string alternate picking, here are some killer tracks to study. These are perfect references for how these ideas are used in actual riffs:

• Death – “Crystal Mountain” (intro: galloping + melodic alternate picking)
• Malevolent Creation – “Fragmental Sanity” (single-string tremolo picking)
• Obituary – “World Demise” (moderate-speed pedaling riffs)
• Morbid Angel – “Rapture” (fast multi-string alternate picking)
• Cannibal Corpse – “Hammer Smashed Face” (relentless tremolo patterns)

And if you want to hear how I personally use these techniques in my own music, here are two great starting points:

• “Final Reign” – Jason Stallworth (Masterpeace)
• “The Damned” – Jason Stallworth (Overcometh)

These tracks showcase the same alternate-picking concepts from this post in a real songwriting context.

Final Thoughts: Build Real Control, Not Just Speed

Alternate picking for death metal isn’t just about speed. It’s about control, tightness, consistency, and being able to track multiple strings cleanly without losing accuracy.

If you work through all four exercises, take micro-breaks, and practice with intention, these techniques will massively improve your riffing and your confidence.

And the best part?
Every exercise in this post directly transfers to real death metal riff writing.

Want More Metal Riff Training?

If these exercises helped you tighten up your picking, here are two resources that will take you even further:

FREE Metal Riffs & Licks Practice Guide

If you want more alternate-picking exercises, palm-muting drills, and real metal riffs you can play right now, grab my free Metal Riffs & Licks Practice Guide.

It’s my way of saying thanks to everyone who follows the channel and reads these posts.

Download the Free Guide Here

The Jason Stallworth Guitar Academy (JSGA)

If you already have the guide, or if posts like this help you make real progress, you’ll love the Jason Stallworth Guitar Academy.

Inside the Academy, you’ll get:

• step-by-step courses
• monthly rhythm lessons
• riffs, tabs, and backing tracks
• practical methods you can use immediately
• a clear roadmap for getting better at metal guitar

All designed for real, at-home players who want to play metal confidently, without overthinking theory or wasting practice time.

Check out the Academy here

Keep it Metal,
Jason

The post 4 Alternate Picking Exercises for Death Metal Riffs appeared first on Jason Stallworth.

Sometimes your palm muting just isn’t right.
Sometimes everything falls apart when you try to play faster.
And sometimes the riffs you write just don’t sound as heavy or clean as you hear them in your head.

I get it. I’ve been there too, many, many times.
And after playing metal guitar since the late 80s, recording albums, and performing live for most of my life, I’ve learned that there are a handful of simple, fixable things that instantly make your metal riffs tighter, cleaner, and more professional.

In this post (and video below), I’m going to walk you through five common mistakes that hold metal guitarists back — and more importantly, how to fix each one.

These aren’t fancy tricks or over-the-top techniques.
They’re practical, real-world concepts that will help you:

• learn metal riffs faster,
• play metal riffs tighter,
• and write your own riffs with way more confidence and clarity.

Before we dive into each one, here’s a quick overview of the five mistakes:

5 Common Mistakes That Keep Your Metal Riffs From Sounding Tight

• Palm muting that’s not as tight or consistent as you want – the easiest fix that instantly tightens your tone
• Trying to play too fast, too soon – fast is cool, but clean is better
• Playing too many notes – this one concept will explode your creativity
• Not knowing when to down-pick vs alternate pick – huge for riff writing
• Never playing in front of people or jamming with others – totally underrated, game-changing for tightening your playing

We’ll dig into each one, and I’ll share some simple, practical examples (with no tabs needed) to help you overcome these and start playing tighter metal riffs today.

Watch the full video below to see how each of these mistakes plays out in real time — and how to fix them so your riffs instantly sound cleaner and tighter.

Mistake #1: Palm Muting That Isn’t as Tight or Consistent as You Want (The Easiest Fix for Better Metal Riffs)

Palm muting is the foundation of playing tight metal riffs and rhythms.
If your palm muting is even a little off, too loose, too tight, or in the wrong spot, your riffs can start to sound unclear, flubby, or slightly out of tune.

What’s cool is:
Palm muting is also the easiest thing to fix.
And just tightening this one area can make your metal riffs sound 10x more controlled and professional.

Two key things that determine whether your palm muting sounds tight and controlled, or loose and inconsistent, are:

1. Palm Placement

Your palm should rest right where the strings meet the bridge. That sweet spot where you’re getting a clean mute without choking the tone.

• If your palm is too far forward (toward the neck), the notes will sound like they’re being choked, and you won’t have clarity.
• If your palm is too far back (on top of the bridge but not quite over the strings), your notes will sound muffled, not muted.

You want that middle ground, the spot where everything feels punchy, tight, and controlled.

2. Palm Pressure (Tension)

This is where most metal guitarists slip up.
We tend to play with aggression. We dig in. We push hard.
But pressing too much can actually bend the strings sharp, making your notes sound out of tune.

Here’s what happens:

• Too much pressure: your palm digs in, bends the strings sharp, and creates a tight-but-ugly tone.
• Not enough pressure: the notes ring too freely, losing that tight, percussive metal sound.

The trick is finding the right balance, and it often depends on the type of riff you’re playing.

Tight vs Loose Palm Muting (Based on Your Riff Style)

Here’s the part a lot of players overlook:

You don’t use the same palm muting tension for every riff.

For fast, single-note thrash riffs:

Use slightly more pressure so notes stay tight and controlled.

Not so much that you bend the string sharp, but just enough to keep everything punchy and precise.

For slow, heavy, doom-style chugs:

Use less pressure so the notes bloom a little and carry more weight.

Let some of the sound spill over.
Those slower riffs actually sound heavier when the palm muting is a little looser.

For power chords that you want to “ring with grit”:

Back the pressure off even more.

This gives your riff that massive, wide sound while still keeping it tight in the pocket.

A Quick Mindset Shift: Tight Doesn’t Always Mean Fast

One thing I want you to remember:

Tightness has nothing to do with how fast you’re playing.
You can play slow riffs that sound super tight.
And you can play fast riffs that just don’t sit right if your palm muting isn’t locked in.

Tightness comes from:

• clean palm placement
• the right pressure
• consistent picking-hand movement
• intentional muting based on the riff style

Master that, and your riffs will immediately sound more polished, heavier, and more controlled.

Palm Muting Recap

Here are the two big things to practice:

• Placement: Keep your palm right where the strings meet the bridge
• Pressure: Use more tension for fast single-note riffs, less for big chugs or ringing chords

Dial these in, and you’ll be surprised how much tighter your riffing sounds, often instantly.

Want more help tightening your metal riffs?
If you haven’t downloaded my free Metal Riffs & Licks Practice Guide, that’s the perfect next step.
It gives you simple patterns and examples you can use right away to clean up your muting, timing, and overall riff clarity.

Grab the free guide here.

Before we move on, if palm muting and tight rhythm playing are areas you really want to dial in, you might also enjoy this post on How to Eliminate String Noise and Play Tighter Metal Guitar Riffs and Solos. It pairs perfectly with everything we talked about here.

Mistake #2: Trying to Play Too Fast, Too Soon

This is the mistake that makes metal riffs lose clarity: pushing speed before the foundation is solid, or chasing speed just because it feels like the “metal” thing to do.

I’m going to cover this from two perspectives:

1. Learning someone else’s riff
2. Writing your own riffs

Both require a slightly different mindset, so let’s break it down.

Learning Someone Else’s Riff (Megadeth, Metallica, etc.)

When you’re trying to learn a riff that’s fast, whether it’s Megadeth, Metallica, or any other band, the biggest trap is trying to match the full speed right away.

Here’s the truth:

**Speed exposes mistakes.

Slow reveals solutions.**

Instead of worrying about BPM or trying to match the song tempo immediately, start with a much simpler question:

“What are the notes?”

That’s it.
Before speed enters the picture, you need to know:

• where your fingers go,
• which notes are muted,
• which notes are open,
• and how the pattern flows.

Break the riff down into small, manageable pieces (or as I say, bite-size chunks…now you’re hungry!).
Don’t be afraid to repeat a single movement or two-note pattern over and over.

And yes, it might feel boring at first.
You may play the same small segment 20, 30, 40 times.

But that repetition is doing something powerful:

You’re building muscle memory

You’re internalizing the pattern

You’re eliminating hesitation

You’re removing the “guessing” factor

This is the key.
You cannot play fast if your mind and fingers are unsure about where to go next.

Once the notes are second nature, speed becomes a natural byproduct of confidence… not pressure.

Writing Your Own Metal Riffs (This Is Where Your Power Is)

I say this often, and I’ll keep saying it:

**If you play guitar, you’re a creator.

Your superpower is writing your own riffs.**

Learning other people’s riffs is great. It teaches you patterns, phrasing, and structure. But writing your own riffs taps into something much deeper and more personal.

This is where the speed trap really shows up.

Many guitarists think:
“I need to write fast riffs to sound impressive.”
But here’s the truth…

**Fast riffs aren’t automatically better.

Slow riffs aren’t automatically worse.**

Some riffs sound incredible, fast.
Some riffs lose all their power when you force speed on them.
Some riffs hit WAY harder when you slow them down and let the groove breathe.

So when you’re writing, be open to the process.

Maybe you start with a fast idea… but when you slow it down, it suddenly feels heavier, meaner, and more satisfying.

Maybe you try to speed something up, but it loses the feel you wanted.

Neither is right or wrong.
This is music, not a competition.
There are no rules except the ones you create.

The key is staying open:

• If the riff wants to be fast, let it be fast.
• If the riff sounds better slow, let it breathe.
• Don’t force speed into every idea.
• Don’t pressure yourself to “keep up” with anyone.

Great riffs come from instinct, not ego. Your goal isn’t to write riffs that will impress other guitar players; it’s to write riffs from the heart.

And if you’ve been feeling stuck or inconsistent in your practice overall, my 7-Day Metal Guitar Reset is a great way to rebuild your foundation and get your motivation back on track.

Mistake #3: Playing Too Many Notes

It’s really easy to fall into the trap of thinking your riffs need to be packed with as many notes as possible. Metal is fast, metal is technical, metal is intense. So our brains start telling us that our riffs have to follow that rule every time.

But here’s the truth…

More notes do NOT automatically make your riffs better.

And many times, they can make your riffs feel rushed or cluttered instead of tight and heavy..

This is especially true when you’re writing your own riffs.

So let’s break this down.

The Practical Problem With “Too Many Notes”

When you cram a bunch of notes into a riff, especially one that’s meant to be fast or tight, a few things happen:

• Your picking hand starts to tense up
• Your timing becomes less consistent
• Your left hand falls behind
• You lose the groove and feel
• The riff becomes harder to memorize
• The tone becomes muddier

That’s why some of the heaviest metal riffs ever written are actually pretty simple.

The power comes from the clarity, not the quantity.

The Practical Solution: Break It Down Slow (Same as Mistake #2)

Just like trying to play too fast, too soon, the solution here is almost identical:

Break the riff into small pieces

Play each segment VERY slowly

Get the notes into your muscle memory

Remove all hesitation

THEN build speed or add complexity

When you know exactly where your fingers are going, without thinking, you can choose whether to:

• speed it up
• simplify it
• add variations
• change the rhythm
• or write a second riff that complements it

But you can’t make any of those decisions if you’re guessing where the next note is.

Slowing things down gives you clarity, and clarity lets you choose the right path for the riff.

The Mindset Shift: You Don’t “Have To” Impress Anyone

Now, let’s talk about the other side of this: Your mindset.

And I say this from personal experience, because I battled this for decades…

You do NOT need to write complex riffs to impress other guitar players.

You don’t have to prove anything to anyone.

Metal culture can sometimes make us feel judged, especially online.
People can be quick to criticize, even when they don’t know the context or the intention behind the music.

And it’s really easy to let that pressure creep into your playing and your songwriting.

But this is your music.
This is your style.
You don’t owe anyone a certain level of speed or complexity.

If the riff wants to be simple, let it be simple.

If the riff wants to be complex, let it be complex.

If it feels better slowed down, slow it down.

If it feels better sped up, speed it up.

There’s no right or wrong here.
There’s no “better” or “worse.”

There’s just what feels right and what sounds good to you.

Sometimes your best riffs will come when you take the pressure off and stop trying to impress anybody, including yourself.

Practical Recap: Clarity Over Chaos

If you find yourself writing riffs with tons of notes and they just don’t feel tight, here’s what to do:

• Slow it way down
• Break it into small pieces
• Memorize the movements
• Remove the “guess factor”
• Build speed after the clarity is there
• And most importantly, write what feels right

When you give yourself creative freedom, your riffs get better naturally.
And you’ll be surprised how often less notes sound more powerful.

If these concepts are starting to click for you, you’d probably get a ton out of the Jason Stallworth Guitar Academy.

Inside the Academy, I take these ideas even further with full step-by-step courses, monthly rhythm lessons, and simple, practical exercises that help you:

• tighten your palm muting
• clean up your picking
• write your own metal riffs
• build your confidence
• and develop your own unique style as a guitarist

Everything is laid out in an easy-to-follow way — no fluff, no overwhelm, just real-world metal guitar training.

You can check out the Academy here.

If you want more technique-focused lessons that build on what we’ve covered so far, you might also like my post on 5 Metal Guitar Techniques to Take Your Riffs to the Next Level.

Mistake #4: Not Knowing When to Downpick vs Alternate Pick

Downpicking and alternate picking are two of the core techniques of metal guitar. Each one gives your riff a different feel, a different weight, and a different level of aggression.

There’s no rule that says you must use one over the other.
This isn’t about “right or wrong.”
But some riffs simply sound better with one technique over the other, and understanding that difference will make your riffs tighter, heavier, and more expressive.

Let’s break this down.

Why Picking Technique Matters (Even If the Notes Are the Same)

A lot of guitarists think:

“If I’m playing the same notes, does it really matter whether I downpick or alternate pick?”

And technically, you can play a riff either way and get close enough.
But here’s the thing:

Downpicking and alternate picking create different textures.

Different attack.
Different tone.
Different character.

Even if the notes don’t change, the feel absolutely does.

That’s why some riffs fall flat when you alternate pick them, and some riffs feel sluggish or unnatural when you try to downpick everything.

What Downpicking Does for Your Riffs

Downpicking gives you:

• heavier attack
• more control
• tighter low-end
• that classic Metallica-style punch
• a consistent, aggressive driving feel

When you hear a tight, chuggy riff that really hits in the chest.
There’s a good chance downpicking is doing the heavy lifting.

Some riffs demand this approach.

If you try to alternate pick those riffs, they often lose that solid, percussive feel, kind of like the riff becomes “too light.”

What Alternate Picking Does for Your Riffs

Alternate picking gives you:

• more speed
• smoother motion
• more stamina for fast passages
• better articulation at high tempos
• that thrash/melodeath fluidity

If you’re playing fast tremolo-style patterns or quick melodic runs, alternate picking is usually the way to go.

Try downpicking fast single-note lines, and you’ll feel your arm burn out pretty quickly. Also, the riff may not sound as clean or controlled.

Mixing Both Techniques in the Same Riff

A lot of metal riffs actually use both techniques.

You might downpick the heavy accents, then alternate-pick the faster sections in between.
Or you might alternate, pick a run but use a downstroke to “reset” the feel at the end of the phrase.

Galloping is a great example of this, as the gallop is a one-two-three, snappy alternate picking technique, but will often have some notes surrounding it down-picked.

Mixing the two can create:

• dynamic contrast
• heavier accents
• tighter transitions
• more interesting riff flow
• better clarity in complex patterns

This is one of the secrets of great metal rhythm playing. It’s not one technique for everything, but a combination of both where they fit best.

How This Applies When Learning Other People’s Riffs

If you’re learning a riff and it just doesn’t feel right, even though you’re hitting the correct notes, this is often the reason:

You’re using the opposite picking technique from the original player.

Once you switch to the right approach, it suddenly clicks:

• The tone changes
• The weight shifts
• The timing locks in
• The riff feels “correct”

A lot of students have told me,
“Jason, I didn’t realize he was downpicking that, that’s why my version sounded off!”

Picking direction matters more than most people realize.

How This Helps You Write Your Own Riffs

This is where things get really fun.

When you’re writing your own riffs, experiment with:

• playing a section entirely with downstrokes
• then playing the exact same thing with alternate picking
• then mixing both approaches

You’ll be shocked at how differently the riff feels in each version.

That little shift can take a riff from:

• decent to heavy
• chaotic to controlled
• stiff to smooth
• boring to exciting

Sometimes the “real” version of your riff only shows up when you choose the right picking approach.

Practical Recap: Let the Riff Decide

Here’s the mindset to keep:

• Downpicking = weight, punch, tight low-end
• Alternate picking = speed, smoothness, upper-tempo control
• Mixing both = expressive, dynamic, unique-sounding riffs

There’s no rule you have to follow. But being aware of how each technique affects the feel of a riff will help you write cleaner, heavier, more intentional metal rhythm parts.

Let the riff guide you.
Play it both ways.
Choose the one that makes it come alive.

And once your riffs are feeling tight, having a great tone behind them makes everything hit even harder. I recently reviewed the Bogren Digital Ampknob BDM, a killer amp sim for rock and metal that delivers a heavy tone with almost no tweaking.

Mistake #5: Never Playing in Front of People (The Most Underrated Way to Get Tighter)

This last one might surprise you, but it’s one of the best ways to tighten up your metal riffs, and your overall playing, more than almost anything else:

Not playing in front of people.

You don’t need a full band.
You don’t need a stage setup.
You don’t even need an electric guitar with a stack behind you.

You just need to play for someone other than yourself.

And this is where so many guitarists miss out on a huge opportunity for growth.

How Playing in Front of People Makes You Tighter

There is something that happens when you play guitar with even a little outside pressure:

• Your timing sharpens
• Your picking becomes more intentional
• Your riffs become more controlled
• You listen more closely to your own playing
• You naturally “lock in” tighter than when you’re playing alone

It’s not about performing perfectly.
It’s the focus your brain shifts into when you know someone is listening.

That slight bit of adrenaline, the good kind, heightens your awareness and organically forces your playing to become cleaner.

This alone can take your metal riffing to a whole new level.

You Don’t Need a Full Band…Just People

You don’t need a full metal band to experience this. You can build this skill by:

• playing in front of a friend or family member
• jamming with another musician
• going to a local open mic

And if you have an acoustic guitar, use it.
If you have an electric and a small amp, bring it.

It’s not the gear that matters. It’s the experience.

Open Mics Are One of the Best Tools for Guitar Growth

I mentioned performing at an open mic, and I strongly believe this is the best thing you can do. I’ve hosted open mics in the Tampa area for years, and I’ve seen so many musicians walk up nervous, unsure, and shaky… and then walk off the stage with a huge smile and a massive boost in confidence.

They get addicted, come back, and get better every time.

Most of them are playing acoustic and singing, sure.
But every now and then, someone brings an electric guitar and just jams out some riffs or power chords.

And I can tell you firsthand:

It changes them. Comp