I’ll never forget the first time I heard Blackened by Metallica. That riff completely captivated me to the point where I didn’t just want to listen to metal anymore. I had to be a part of it. I had to learn how to play this stuff.
By the way, Blackened uses a really cool technique called string skipping, and that’s just one of the many techniques I’ll share with you below.
In this post, I’m going to walk you through five metal guitar techniques that will take your riffs and rhythm playing to the next level.
Sure, power chords and palm muting are the foundation of heavy metal guitar (and pretty much every sub-genre of metal). But if you want to go beyond the basics and create more captivating riffs and write your own killer riffs, this post is for you.
Next Level Metal Guitar Techniques: Video Lesson
Oh, and these are the same concepts I teach in my free Metal Riffs & Licks guide and inside the Jason Stallworth Guitar Academy (get my free stuff first!).
1. Hammer-Ons and Pull-Offs for Metal Riffs
Hammer-ons and pull-offs are often associated with guitar solos, but they can also add a whole new dimension to your metal rhythm playing. Using them in riffs can give your rhythms more character and add a new dynamic.
Hammer-Ons
A hammer-on happens when you pick one note and then immediately “hammer” another finger onto a higher fret without picking again.
Example:
- Pick the 7th fret on the D string with your index finger.
- Then “hammer” your middle finger onto the 8th fret. No picking, just pressing down.
- That new note rings out from the force of your finger.
👉 You picked once, but you got two notes.
Pull-Offs
A pull-off is the opposite. You pick a note and then release your finger in a way that makes the lower note sound.
Example:
- Start with the same 7th fret on the D string (index finger).
- Hammer-on to the 8th fret (middle finger).
- Now pull off your middle finger so the 7th fret note rings out again.
👉 In this case, you picked once, but you heard three notes: 7th fret → 8th fret → back to 7th fret.
Expanding the Idea
Once you’re comfortable, try moving the pattern to different frets. For instance:
- Pick the 5th fret on the D string (index finger).
- Hammer-on to the 7th fret (ring finger).
- Pull-off back to the 5th fret.
Now you’re creating small licks that can be dropped into riffs anywhere across the fretboard.
Making It Sound Like a Riff
Here’s a cool way to make hammer-ons and pull-offs sound more like a riff and less like an exercise:
- Palm mute the open A string twice.
- Play your hammer-on/pull-off lick.
- Palm mute the open A string twice again.
- Repeat.
You can even take it a step further: on the D string 7th fret, hammer to the 8th fret, pull off back to 7th, then pull off again to let the open D string ring out. Combine that with your palm-muted A string, and you’ll instantly have a riff with attitude.
👉 Don’t limit yourself to just these examples. Move this concept around the fretboard, mix it with palm muting, and see what riffs you come up with.
2. String Skipping for Creative Riffs
String skipping is a simple concept, but it can completely change the way your riffs sound. Instead of always playing notes that are right next to each other, you skip over a string to reach a note further away. This opens up new sounds and textures you won’t get from standard power chords or clustered single-note riffs.
There are two examples of string skipping below, both equally cool to add to your rhythm playing.
Example 1: Single-Note String Skipping
Let’s start with a basic example:
- Play the 2nd fret on the A string (index finger).
- Skip over the D string.
- Play the 4th fret on the G string, then the 5th fret, then back to the 4th fret.
👉 You’ve just skipped over an entire string (the D string). You can also apply the technique we just covered for this 3-note riff, in hammer-ons and pull-offs.
This simple move immediately opens up your ‘note library’ for riffs. And once you get faster with it, your rhythm playing takes on a whole new dimension.
Example 2: Dual-Note String-Skipping
Another way to use string skipping is by playing two notes at the same time, almost like a chord, but with a string skipped in the middle.
Try this:
- Play the 2nd fret on the A string with your index finger.
- Skip over the D string.
- Play the 4th fret on the G string with your pinky (or ring finger, if that feels better).
- Pick both strings together.
You’ll notice that if you strum across, the muted D string might ring. To prevent that, let your index finger lightly touch the D string to mute it. That way, only the A and G strings ring out cleanly.
Now take that shape and slide it up the neck:
- A string 3rd fret + G string 5th fret
- A string 5th fret + G string 7th fret
- A string 6th fret + G string 8th fret
Note: Slide from one pair of notes to the next as seen in the tabs:
👉 What you’re really doing here is playing the root note and its higher octave. This almost sounds like you’re using an effect or octave pedal, but it’s 100% organic and straight from your hands.
Why String Skipping Works
When your riffs start to feel stale or you’re tired of cycling through the same power chords, string skipping forces you into new territory. It spreads your notes out across the fretboard and instantly gives your riffs a unique vibe.
3. Arpeggiated Chords to Break Away from Power Chords
When we think of metal riffs, we usually think of power chords, palm muting, and single-note riffs. But if you want to add a completely new dimension to your rhythm playing, try arpeggiated chords.
Arpeggiating simply means picking the notes of a chord one at a time instead of strumming them all together. This can give your riffs a darker, more atmospheric vibe, which is perfect for metal and a change in your sound.
Note: You don’t have to play or arpeggiate every note within the chord, as you’ll see in the example below.
Basic Example Using an E Minor Bar Chord
Here’s a simple way to try this out:
- Hold down an E minor bar chord.
- Instead of strumming the whole thing, pick the B string → G string → D string one note at a time.
👉 You’re still in the full chord position, but you’re just breaking it apart into smaller pieces.
💡 Pro tip: Add a light palm mute to each note. With distortion, this keeps things tight and avoids unwanted noise or muddiness.
Changing It Up Within the Chord
You don’t have to stick to the same notes every time. For example:
- While in the E minor bar chord, your middle finger presses the 8th fret of the B string, pinky on the 9th fret of the G string, and ring finger on the 9th fret of the D string.
- Play those three notes (B → G → D strings).
- Now lift your middle and pinky fingers while keeping the bar in place.
- This changes your B and G strings from the 8th/9th frets down to the 7th fret (barred).
- Arpeggiate those three strings again.
👉 Going back and forth between those two shapes creates a subtle but powerful movement. It almost sounds like you’re layering two riffs in one.
Beyond Chord Shapes
You don’t have to stick with full chords or even have your hand positioned for a complete chord. For example, you can try this:
- Choose two to five notes across different strings and arpeggiate them.
- Go from high strings down to low strings (or vice versa).
- Mix and match the order for unique rhythmic effects.
Why This Works for Metal
Metal guitar often defaults to heavy chugs, single-note riffing, and ‘power’ful chords (forgive the pun). Arpeggiating breaks that mold and opens up new textures. It’s a great way to get out of a creative rut or add variety to a riff you’re writing.
👉 If you’re stuck writing the same riffs over and over, arpeggiated chords can be the key to unlocking something fresh.
4. Tremolo Picking for Darker Styles
If you’ve listened to bands in the death metal, melodic death metal, or black metal genres, you’ve definitely heard tremolo picking. It’s one of the defining guitar techniques of darker metal styles, and it can instantly give your riffs a sinister edge.
What Is Tremolo Picking?
At its core, tremolo picking is just fast alternate picking on a single note. You’re simply picking back and forth as quickly as possible, often repeating the same note several times before moving to another.
There’s no strict rule for how many times you need to pick each note. The key is to keep the motion tight, fast, and consistent.
A Simple Tremolo Picking Riff
Here’s a riff you can try to get started:
- Begin by tremolo picking the open low E string quickly (about eight times).
- Move up the same string and tremolo pick notes on the 3rd fret, 2nd fret, and 6th fret.
👉 Once you’ve got this down, experiment with adding more notes, form dark melodies, and see where this takes your playing.
Pro Tip: Add a Light Palm Mute
One way to keep your tremolo picking tight is to add a slight palm mute. Not a full chugging mute, but just enough to stop the notes from ringing out too much. This helps prevent muddiness, especially when playing with high gain.
You don’t have to mute, though. Sometimes letting the notes ring out adds the raw chaos, and that may be what you want for that song, or part of a song. Other times, tightening it up with palm muting sounds more aggressive. Experiment with both and see which feels best for the riff you’re creating.
Beyond One String
Once you’re comfortable, try moving your tremolo picking across strings. For example, starting on the low E, then shifting to the A string, then the D string. This adds complexity and can make your riffs sound even more intense.
Try this riff below and see how these notes form a sinister-sounding melody (then add your own flavor to it).
Why Tremolo Picking Inspires Darker Riffs
Here’s the cool part: even if you don’t usually write death metal or black metal riffs, once you start practicing tremolo picking, darker riffs tend to just happen. Something about the speed and intensity brings out that sinister character naturally.
👉 Remember: there’s no right or wrong here. Whether you mute or not, stay on one string or move across several strings. The best riff is always the one you create. That’s how you develop your own unique style.
If you’ve watched my YouTube videos or you’re in my guitar academy, you know I’m big on this; you being you!
5. Galloping and Next-Level Galloping for Killer Metal Riffs
Galloping is one of my personal favorite metal guitar techniques. It’s fun to play, it sounds powerful, and, well, it’s just cool.
At its core, galloping is just alternate picking with a specific rhythmic pattern. Think of it as a quick three-note sequence:
- Downstroke
- Upstroke
- Downstroke
…followed by a slight pause before repeating or moving to the next note.
The best way to describe it (if you’ve never heard it on guitar) is to imagine the sound of horses galloping: one-two-three, pause … one-two-three, pause. Or, as I like to say: It’s like demon bulls coming after you.
Getting Started with Galloping
A great way to practice this is on the open low E string with palm muting:
- Play: down → up → down → pause.
- Repeat: one-two-three, pause … one-two-three, pause.
Once you get that down, try these variations:
- Gallop with Pre-Notes: Add two palm-muted downstrokes before the gallop. (Down, down, then down, up, down, pause).
- Gallop with Post-Notes: Add two palm-muted downstrokes after the gallop. (Down, up, down, pause, then down, down).
These simple variations will prepare you for more advanced galloping.
Next-Level Galloping: Changing Notes Mid-Gallop
Here’s where things get really interesting. Instead of keeping all three strokes on the same fret, you change the note in the middle of the gallop.
Example:
- Start on the 6th fret of the low E string.
- Play: downstroke (6th fret), upstroke (6th fret).
- Then switch the final downstroke to the 5th fret.
👉 So your gallop becomes 6–6–5 instead of staying on one note.
This creates an insanely fast, sounding riff. It’s only a split-second, but it makes your riff come alive.
Putting It Into a Riff
Here’s a riff idea you can practice:
- Gallop: 6–6–5 (pinky on 6th fret, ring finger on 5th).
- Then: 3rd fret → 5th fret → 3rd fret → open E → 2nd fret → 3rd fret → finish with an E power chord.
This way, you’re not just practicing galloping in isolation. You’re applying it in the context of a real riff, which is how you’ll actually use it when writing songs.
Why Galloping Works
Galloping has been used across many metal subgenres (especially thrash metal), and for good reason. It creates momentum, power, and aggression that keep a riff driving forward with power.
And once you start experimenting with next-level galloping, where you change notes mid-pattern, your riffs will sound more advanced and captivating.
👉 Don’t just practice galloping as an exercise. Start using it in riffs you write. That’s where this technique really shines.
Putting It All Together
These five metal guitar techniques can definitely take your rhythm playing to the next level. But more important than simply playing faster riffs or mastering new skills is this: developing your own style.
Sometimes that style may mean aggressive thrash riffs with insane downstrokes or next-level galloping. Other times it might mean slowing things down into a heavy, doom-like chug. It doesn’t matter what direction you go. What matters is that it’s true to you.
At the end of the day, your riffs should reflect the feelings and emotions inside you. That’s what makes your playing authentic.
I’ve said this before, and I’ll say it again: the most important thing you can do is create your own style of guitar playing. Not someone else’s style. Not someone else’s sound.
That said, techniques like the ones we covered in this post (and in the video above) are powerful tools to have in your back pocket. They give you more creative options and prevent you from being limited in what you can write and play.
So use these techniques, experiment with them, and let them fuel your creativity. Most of all, let them inspire you to keep writing riffs that are yours.
Keep it Metal,
Jason
If you’re ready to take these techniques further, grab my FREE Metal Riffs & Licks guide. It’s packed with riffs, tabs, and videos to help you keep leveling up.
👉 Get Metal Riffs and Licks FREE
And if you already have the guide and want to go deeper, check out the Jason Stallworth Guitar Academy, where I’ve got full courses and monthly lessons waiting for you to help you continue progressing and developing your own style.
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