In Your Face Guitar

In Your Face Guitar

Presents

Alexi Laiho
In Your Face Guitar
Advanced Techniques & Concepts
Method By: John McCarthy
Adapted By: Jimmy Rutkowski
Supervising Editor: Joe Palombo
Music Transcribing & Engraving: Jimmy Rutkowski, Matt Warnock
Production Manager: Anna-Lisa Tedeschi
Layout, Graphics & Design: Jimmy Rutkowski
Music Transcribing & Engraving: Jimmy Rutkowski
Photography: Rodney Dabney
Copy Editor: Cathy McCarthy
Cover Art Direction & Design:
Paul Enea, Tovero & Marks

Produced by The Rock House Method®
Fred Russell Publishing 2011©, LLC All Rights Reserved

In Your Face Guitar

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2

................................................................................................................................................................................................................................... Five String Arpeggio Pattern ............................................................................................................................................................................................................................. Full Scale Run #2 .................................................................................................................. DVD 1 Chapter 1: Scale Patterns & Sequences C Major Scale Sequences ................................................................................................................................. 39 3 ................................22 Chapter 3: Writing a Harmony Guitar Section Verse Harmony Section ...In Your Face Guitar Table of Contents About the Instructor ........................................................................................................................ 21 21 D Major String Skip & Tap Arpeggio ............................ 32 Lead Technique ................................................. E Minor Scale Pattern #3 .............................................................................................................................. 13 14 Full Scale Run #1 .................................................................................... 21 Arpeggio Combining Techniques ..................................................Tapping Sequence .......................................................................................“Follow the Reaper” ......................................................................“Smile Pretty for the Devil” ............................... 29 Chapter 5: Writing a Lead Writing a Lead ......................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................“Bodom Beach Terror” .................“In Your Face” .................................................................................................. 5 6 Introduction ..... 20 String Skipping ................................................................. 11 12 E Minor Scale Pattern #1 .......Diminished Arpeggio ...............................................38 Complete Lead .................................................“Blooddrunk” ......... Pivoting Harmony Section ..............................................................................................................................................................“Everytime I Die” .... Combining Pentatonic Scale Patterns ................................................................................................................................... 15 16 Pentatonic Scale Sequences ... 7 8 Reading Tablature ................................ 12 E Minor Scale Pattern #2 ............24 25 Harmony Section ................................................................................................................................. 28 Classical Exercise ........................................ 28 Pivoting Exercise #2 ......................................................................................................................... Sweep Tap Six String Arpeggios ............“Blooddrunk” Solo ....................................................... 17 Chapter 2: Arpeggios Three String Arpeggios ............ 9 Tuning ....................................................................................................................................................... 25 Chapter 4: Warm Up Exercises Pivoting Exercise ...................................................................................... 19 20 String Skipping Arpeggios ......................................................................................... Icon Key ...................29 Classical Bach Exercise .

...................................................... 73 The Rock House Catalog ... 48 Chapter 8: Crazy Guitar Sounds Pick Scrapes ........................................................................................................................“Punch Me I Bleed” ...................................................“Punch Me I Bleed” .................................... 53 Syncopated Rhythm ......................................................................................“Roadkill Morning” .......................................................................................................................................... 46 The Over Bend ................................................................ Chapter 9: Syncopations 52 Syncopated Rhythm ...........................................56 Dynamics ..................... 42 Blues Techniques for Metal Guitar ....................... 47 Double Stop with the Whammy Bar ............In Your Face Guitar Chapter 6: Infusing Other Styles Into Metal Funk Techniques for Metal Guitar ....................................................Playing Aggressive .................................................................................... 58 Chapter 12: Full Songs 60 “Blooddrunk” ....... 43 DVD 2 Chapter 7: Bending The Scream Bend .......................................................................................................................................................................................................................................................................... 46 Intro a Riff with a Bend ....................... 48 Bending as a Rhythm Technique ............................................................................................................................................................................................................................................................................................................................................................................. 47 The Semitone Bend ..............................................................50 50 Rake Harmonics ..........54 Chapter 10: Songwriting Dynamics Dynamics ........................................................ “Tie My Rope” ..............................“In Your Face” ........ 63 “Hatecrew Deathroll” .. Syncopated Rhythm ...................................................................................................................................... 48 Bend and Tap ......74 4 ..................................................................................................................................“Needled 24/7” .................................................................................“Lobodomy” ..........................................All Down Strums ..............................................................................................................................................“Six Pounder” ........................ 67 How To Get Your Next Rock House Product .....................“Living Dead Beat” .................................................................... 56 Chapter 11: Playing Slow Playing Slow .....................................................................

in Finland. At the conservatory he also studied the pianos..S.P.In Your Face Guitar About the Instructor Alexi Laiho Alexi is the founding member and lead guitarist of the Metal band “CHILDREN OF BODOM. Poison and Stone. His vocal influences came mostly from Phil Anselmo of Pantera and Mille Petrozza of Kreator. influenced by the music his sister listened to (heavy metal music) bands such as W. made Guitar World’s list of the top 100 metal guitarist of all time in 2004 and appeared on the cover of Guitar World in 2005 with Steve Vai and Zakk Wylde. He then began taking lessons at the Finnish Pop & Jazz Conservatory in order to study the instrument.A. He has dedicated his life to creating music and developing his technique.” he has his own Signature Model ESP guitar. he ended up dropping the classical instrument at the age of 11. Originating from the town of Espoo. Alexi began his musical training at an early age by learning the Violin. A taped live performance of Steve Vai’s song “For the Love of God” (from the Passion and Warfare album) was especially influential in Alexi’s decision to become a guitarist. However. 5 . Alexi is known for his incredible six string momentum and melodic speed along with stern vocal strength. in favor of guitars. The development of his playing style was heavily influenced by Stone’s Roope Latvala (who many years later became his band mate in Sinergy and then in Children of Bodom).

How to Use the Lesson Support Site Every Rock House product offers FREE membership to our interactive Lesson Support site. link with instructors. There are also a variety of other tools you can utilize such as Ask The Teacher. You will find your member number in the package that contains your DVD.In Your Face Guitar Introduction Welcome to The Rock House Method® system of learning. you can use this fully interactive site along with your product to enhance your learning experience. Registering will also make all of the icon links in this booklet active links that will take you to the Lesson Support site. Reference Material. Definitions. Unlike conventional learning programs. The products can be used individually or together. Quizzes. The DVD that comes with this booklet matches the curriculum exactly. Guitar Professor and much more. Use the member number included with your book to register at RockHouseMethod. 6 . Once registered. The Rock House Method® is a teaching system that employs DVD and 24/7 online lesson support along with this booklet to give you a variety of sources to ensure a complete learning experience. expand your knowledge. You are joining millions of aspiring musicians around the world who use our easy-to-understand methods for learning to play music. and connect with a community of people around the world who are learning to play music using The Rock House Method®. There are sections that directly correspond to this product within the Additional Information as well as Backing Track sections.com. Register Now Click Here! Click here now to use the member number included with your program to register for free at RockHouseMethod. providing you with a live instructor for visual reference. Live Chats. Forums.com.

Backing Tracks Many of the exercises in this book are intended to be played along with bass and drum rhythm tracks. more playing examples or tips on the Lesson Support site or click here. Metronome Metronome icons are placed next to the examples that we recommend you practice using a metronome. 7 . When you see an icon in the book. you’ll periodically notice the icons listed below. Additional Information The question mark icon indicates there is more information for that section available. Tuner Also found on the web site is a free online tuner that you can use to help tune your instrument. adjustable metronome on the Lesson Support site or click here. visit the member section of RockHouseMethod.In Your Face Guitar Icon Key Throughout this book. You can download the free online tuner on the Lesson Support site or click here. They indicate when there are additional learning tools available on our support web site for the section you’re working on. This icon indicates that there is a backing track available for download on the Lesson Support site or click here. it can be theory. You can download a free.com for musical Backing Tracks. Additional Information and learning utilities.

This system was designed specifically for the guitar. The numbers placed directly on these lines show you the fret number to play the note. At the bottom. The six lines of the tablature staff represent each of the six strings. Most music for guitar is available in tab. The bottom line is the thickest (lowest pitched) string. It does not require you to have knowledge of standard music notation. Tablature is a crucial and essential part of playing guitar. is a series of numbers.In Your Face Guitar Reading Tablature Tablature (or tab) is a number system for reading notes on the neck of a guitar. The top line is the thinnest (highest pitched) string. The lines in between are the 2nd through 5th strings. These numbers show you which left hand fingers you should use to fret the notes. first string (thinnest) fret number sixth string (thickest) left hand fingering 8 . underneath the staff.

One tuning he uses is “D” tuning and the Dropped “C” Tuning other is Drop “C” tuning. notice that the only difference Dropped “C” Tuning = D = C you will see an icon for the tuning between the two is the note on the 6th string.com = A to download = G one for free. =C G If you do not have a tuner. =F =F =C =C “D” Tuning “D” = DTuning= C = = =D A =C G = = =A F =G D =F =D Dropped “C” Tuning Dropped = D “C” Tuning =C (thinnest string) = D = (thinnest string) =A =C G = A = =F =G C (thickest string) =F = C (thickest string) (thinnest string) (thinnest string) 9 “D” Tuning “D” = DTuning= C = = =D A =C G = = =A F =G D (thickest string) =F = D (thickest string) . go to the Lesson Support site at RockHouseMethod. The icons for each are =D Ashown below.In Your Face Guitar DVD 1 Tuning Alexi Laiho uses two different tunings in his music. Below are the tuning notes for each. On each page = = used in the example.

In Your Face Guitar Chapter One Scale Patterns & Sequences .

In Your Face Guitar C Major Scale Sequences Pattern 1 12 15 C Major Scale Pattern   20 19 17 19 17 21 19 20 19 18 17 17 21 20 20 19 17 19 18 22 21 20 20 24 19 17 19 21 22 17 19 21 20 Pattern 2 3  8 10 12 13 12 10  11 5 8 10 12 8 10 12 13 12 10 13 12 10 7 9 9 10 12 9 10 12 12 10 9 12 10 9 9 10 12 9 10 12 12 10 9 12 10 9 12 10 12 13 12 10 8 15 10 12 13 12 10 8 10 12 13 12 10 8 17 .

In Your Face Guitar E Minor Scale Pattern #1 3 12 14 15 14 12  5 7 15 13 12 10 12 13 12 10 12 11 9 9 7 9 11 9 7 12 10 9 7 15 5 7 9 7 5 9 7 5 17 7 E Minor Scale Pattern #2 3 1412151412  5 151312 1312151312 7 141211 1211141211 9 12 141210 10 91210 9 1210 9 15 1210141210 17 141210 12 12 .

In Your Face Guitar E Minor Scale Pattern #3 3 15 12 14 15 5 14 7 12   12 15 9 13 15 12 13 12 15 11 14 12 17 14 12 11  14 10 12 14 12 10 10 14 12 14 12 10 10 14 12 14 12 10 14 12 11 12 Combining Patterns 15 12 14 15 14 12  15 13 12 13 15 13 12 12 14 12 11   13 12 10 14 12 10 12 14 12 10 14 12 10 12 14 12 10 12 10 14 10 12 .

In Your Face Guitar E Minor Scale Pattern #3 .Triplets 15 12 14 15 14 12 15   12 13 15 13 12 14 11 12 11 14 10 12  14 12 10 14 10 12 14 12 10 14 10 12 14 12 10 12 Full Scale Run #1 “In Your Face” 13 10 12 13 12 10   10 7 9 10 9 7 10 10 11 13 8 7 13 10 11 8 10 7 11 8 8 5 10 7 11 8 10 7 8 5 8 8 9 10 7 5 10 8 9 7 7 5 14 .Sixteenths 15 12 14 15 14 12 15   12 13 15 13 12 14 11 12 14 12 11 14 10  12 14 12 10 14 10 12 14 12 10 14 10 12 14 12 14 12 10 12 E Minor Scale Pattern #3 .

In Your Face Guitar Full Scale Run #2 “Bodom Beach Terror” Basic Lick       17 17 19 20 17 19 17 19 20 17 19 19 20 17 19 17 20  17 19 20 17 19  10 12 14 10 12  10 12 14 10 12  3 5 7 3 5 3 5 7 3 5   15 17 10 13 10 13 17 20 19 20 17 19 20 19 20 17 19 20 12 13 10 12 13 12 13 10 12 13 Descending Neck Run in “Em” 20 17 20 7 7 3 3 19 20 17 19 20 19 20 17 19 20 14 15 17 14 15 14 15 17 14 15 7 8 10 7 8 7 8 10 7 8 5 7 3 5 7 5 7 3 5 7 17 17 10 10 14 14 8 8  5  5   15 17 13 15 17 15 17 13 15 17 8 10 7 8 10 8 10 7 8 10   .

3 5 7 9 12 15 17   Sequence Pattern 1 #1 Descending P.14 12 13 14 14    P. however. 15 12  15 12 14 12 15 12 3 x 6 14 12 5 14 12 7 14 12 6 14 12 9 14 12 b5 14 12 12 14 12 15 Pattern 2  12 15 15 12 17 1 1/2 12 14 12 14 13 14 12 14 12 14 11 14 12 14 12 14 12 14 12 14 12 17 15 16 Pattern 3 H .M.M. 15 12 15 12 17 17 into 15 the pattern 17 15 12for more12 hePattern adds 1a few extra notes tonal color.In Your Face Guitar Pentatonic Scale Sequences The first two sequences will be played using the minor pentatonic scale diagrammed below. Note the added b5 and major 6th 17 15 17 15 14 12 14 degrees within the scale as well as a 4th added on the 1st string 17th fret. 15 12  15 12 14 12 15 12 14 12 14 12 14 12 14 12 14 12 14 12 14 12 Pattern 2 #2 Descending Sequence 15 12  12 15 15 12 12 14 15 12 12 14 15 12 1 1/2 15 12 13 14 12 14 12 12 14 14 12 14 12 14 14 14 12 12 12 11 14 14 14 12 12 14 12 17 12 14 14 12 12 14 14 12 15 14 12 15 14 12 Sequence Pattern 3 #3 Ascending H In the17following sequence Alexi12uses the same root position minor pentatonic scale.

4th pos. 9 12 3rd pos. Repeat All 4x with P.       17 5 12 3 10 5 12 3 10 5 13 3 10         8 5 8 5 15 12 15 12 8 5 15 13         10 8 10 8 17 15 17 15 10 8 17 15     . 5 7 1st pos. 3 2nd pos. 15 17 5th pos. 14 12 14 12 14 12 14 12 14 12 In Your Face Guitar Pattern 2  14 12 14 12 14 12 15 12 1 1/2 Combining Pentatonic Scale Patterns 12 15 12 14 12 14 12 14 13 14 12 14 11 14 12 14 12 14 12 14 12 14 12 17 15 Pattern #1 Pattern 3 17 15 12  17 15 12 17 15 H 12 17 15 12 17 15 12 17 15 14 12 14 14 14 12 13 14 Pattern #2 Two String Sequence 5th pos.M.

In Your Face Guitar Chapter Two Arpeggios .

H 17 P H 20 20 20 20 19 19 19 19 19 P 22 20 20 20 H 19 19 19 20 20 P 19 H 20P 15 H 19 P 15 19 15 19 15 15 19 15 H 15 20 P 19 15 20 17 17 17 17 H P H P 19H 22 P 19 19 22 19 19 22 19 H 19 16 16 16 16 P 22 17 17 17 17 20 20 20 19 19 19 20 20 20  20 20 15 19  15  19 15  15 . 15 H 19 P20 15 15 19 15 15 19 15 H 15 19 19 19 19 17 17 17 P H 19 15 16 16 16 17 17 17 17 20 17 H 17 P 20 17 19 19 19 19 P 19 22 19 22 19 H H P 17 17 17 H 20 P 17 16 20 H sl. 17 P 19 22 P 19 sl.In Your Face Guitar Three String Arpeggios E Minor    19 15 19 15 19 15 G Major 22 19 15 19 22 19 22 19         22 20 19 17 20 17 17 P H P 20      19 15 19 15 17 20 17 17 20 17 H P 17 17 H 20 P 17 16 H 17 P 20 17 19 19 19 19 16 19 20 19 20 19 20 19 19 20 19 20 19 19  15 19 15 17 16 17 Arpeggio 15  15 19 Progression 17 16 17 16 H P   H P 17 16 17 20 17 15 H 19 P15 16 17 F# Diminished 20 17 H 16 17 17 17 20 20 20 20 20 H P H P sl. 19 sl.

In Your Face Guitar String Skipping Arpeggios Em P 15 P 12 12  12 16 Dmaj Amaj H P 14 12 14 P 16  12 11 14 H 10 10 F#dim P 10 11 P 14 H 10 14 P 14 11 11 12 P 14 H 11 11 14 11 14 13 11 14 Sweep Tap Six String Arpeggios Em C H  H 15 19 19 17 16 17 TP P 15 19 24 19 15 H 17 16 12 15 15 14 12 13 TP P 12 15 20 15 12 13 12 F#Dim D H H  H 14 17 17 16 14 15 TP P 14 17 22 17 14 H 15 14 15 18 H 16 14 17 16 TP P 14 17 23 17 14 16 17 20 .

19 1512 1916 sl. 18 12 9 1815 sl. 12 1512 12 9 sl. 17 P 14 14 P 15 14 15 14 17 T P 22 17 PT P 22 17 P 14 15 Arpeggio Combining Techniques P P 15 12  21 H 12 16 H sl.In Your Face Guitar String Skipping Diminished Arpeggio sl. P 15 19 22 19 P 20 19 20 19 22 22 full 22 . 1916  sl. 14 1815 1512 sl. 15 9 6 15 12 8 12 9 6 3 9 6 12 9 6 3 0 D Major String Skip & Tap Arpeggio P 14  P 10 11 H 10 14 H 10 14 11 12 11 14 sl. P 12 15 19 15 16 12 14 12 16 H 17 16 17 sl.

In Your Face Guitar

Five String Arpeggio Pattern
Em

Bbº

P

P

19 15

17

16

17

H

P

19 14 19

17

16

17

P

15 19 15

17

Em

18 15
16

17

P

17

16

17

H

19 14 19

P

17

16

17

15 19 15

15 12
16

17

19

17

12

14

15 10

17

18 15

17

18

E

sl.

13

P

15 18

G

P

17

H

18 15

C

P
19 15

P

sl. P

9

7

8

7 10 17 14

15

14

22

In Your Face Guitar

Chapter Three
Writing A Harmony
Guitar Section

=D
=A
=F

=C
=G
=C

In Your Face Guitar

“D” Tuning
=D
=C
=A
=G
=F
=D

Verse Harmony Section
“Blooddrunk”

Dropped “C” Tuning
=D
=C
(thinnest string)
=A
=G
=F
= C (thickest string)

Guitar
1
“D” Tuning
(thinnest string)

=P.M.
D
=A
=F

0

=C
=G
= D (thickest string)

3
3

0 0 0

0
0

4
4

P.M.

0

8

0

5

7

7
6

0

2
2

0 0 0

0
0

3
3

7

10 7

6

0

0

0

0

7

5

8

6

0

0

0

2
2

0

0
0

3
3

0
0

0

0

0

0

0

0
0

4
4

0

0

5

7

7

0 0 0

6
6

8
6

0
0

6
0

0

0

2
2

0
0

3
3

4
4

0
0

3
3

0

0

5

0
0

3
3

7

9

8

10

9

6
0

8
6

0

P.M.

7

8
6

10
0

P.M.

P.M.

3
3

4
4

Guitar 2 - Harmony
P.M.

0 0 0

P.M.

P.M.

0 0 0

2
2

0
0

3
3

0
0

6
6

0
0

8
6

8
6

8
6

24

In Your Face Guitar Harmony Section “Follow the Reaper” Chorus Melody   12 12 10 8 10 12 10 10 10 8 8 12 10 12 10 8 7 7 8 10  Harmony Line   5 7 5 5 7 10 7 10 10 7 Pivoting Harmony Section “Smile Pretty for the Devil” Melody     5 5  10   25 3x 7 7 7 7 9 5 7 7 9 5 8 7 7 9 5 10 7 9 5 10 7 9 9 10 5 10 7   5 9 10 3x 12 12 10 14 10 14 12 10 12 10 12 14 10 12 10   .

 5 7 10 7 7 In Your Face Guitar 8 7 9 10 9 10 9 10 9 10 10 3x  10    7 12 12 12 12 10 12 14 14 10 15 14 14 12 16 10 17 12 16 10 17 12 14 16 17 10 17 12 10 16 17 Harmony     7    12 3x 9 7   9 9 9 12 12 10 8 12 10 10 9 8 10 12 12 9 10 12 12 9 10 10 14 12 10 9 12 12 10 3x 14 14 17 15 17 15 14 17 14 17 14 15 17 14   17     12 14 14 17 15 17 15 17 19 17 19 17 21 17 19 26 .

In Your Face Guitar Chapter Four Warm Up Exercises 27 .

7 10 8 10 4 7 5 7 5  Pivoting Exercise #2  14 12 11 12 10 12 11 12 12 12 11 12 14 12 11 12 15 14 15 12 15 10 15 14 15 12 15  11 COBHC 28 .In Your Face Guitar Pivoting Exercise Basic Pattern Variation Moving Across the Neck 1013121310131213101312 1310131213 10131213 7 10 8 10 8 1210 12 5 8 7 8 sl.

P 10 7 8  7 7 7 8 4 5 5 4 10   11 10 14 12 9 P 7 12 9 4 9 12 10 9 14 15 9 9 9 10 6 7 6 7 6 10  9 sl.H. full 3  H P 2 0 0 5  sl.In Your Face Guitar Classical Exercise sl.   7 10 9 10 7 8 7 P 8 7 10 12 9 8 7 sl. 3 5 6 1 3 3 1 1 3 1 3 2 0 1 3 2 0 2 4 0 2 3 2 0 3  . P 10 14 17 12 9 7 Classical Bach Exercise  5 7 8 7 5 8 4 8 7 5 8 7 8 7 7 5 6 3 5 5 3 6 5 6 2 6 5 3  3 5 6 5 3 3 6 5 3 5 1 3 5 1 3 3 1 2 5 3 2 3 5 6 3 5 6  29 1 3 2 0 3 2 3 0 0 2 0 0 2 3 5 2 3 5 X 3 6  A.

 3 5 6 3 5 5 3 3 In Your Face Guitar 1 3 6 5 3 5 1 3 5 3 1 2 5 3 2 3 5 6 3 5 6   1 3 2 0 3 2 3 0 0 2 0 0 1 1 1 1 3 3 3 3 2 0 3 3 1 3 2 0 2 4 0 2 3 2 0 3  2 0 3 3 0 2 3 0 2 3 1 3 0 1 1 0 1 3 1 0 1 0 3 1 0 2 1 2 1 4 2 0 24 12 0 01 310 4 212 013 10 0 1 5 4 2 0 5 310 3 0 2 4 1 2 1 0 2 1 0 4 2  H P  full  H P 2 0 2 3 5 2 3 5 X 0  A. A.H. sl. 3 1 3 1 0 013 2 04 23023 13 31 2 3 sl.H. 1 3 2 0 3 3 4 0 2 3 0 2 3 3 2 0 3 3 3 3 3 3 3 3 30 .H. 1   2 0 0 1 0 2 0 3 X 5 6 3 5 6 2 6 5 3 6 5 6 3  2 0 2 2 3 2 2 3 0 3 0  N.

In Your Face Guitar Chapter Five Writing a Lead 31 .

I have included the Blooddrunk rhythm so =A =G you =can see the chord changes that corresponnd with the lead. 2 “D” Tuning =D =A =F (thinnest string) C D E F# G C B C E F# G F# 121415 17 19 20 E 12 14 15 121416 B C D E F# G F# G A D D E G A A B 15 17 17 19 1214 12 13 15 Second Position 12 14  12 13 15 141517 14 15 17 14 16 17 17 19 16 17 19     141517 141617 14 16 17 15 17 16 17 19 17 19 20  12 14 15 12 14 15 Third Position  D B 12 14 15 14 15 17 C C Second Position  B B 15 2 2 2 A A 12 14 16 0 0 0 A F#  4 4 4 A E      5 5 5 G D  Position  First       121415 F# A 12 2 2 0 4 4 4 G First Position  5 5 5 =C =G = D (thickest string) F# G E B  2 2 0 4 4 4 14 16 17 15 17 Third Position   171920 1719 161719 16 17 19 2 2 2 C      14 15 17 2 2 2 17 19 20  17 19 20 14 15 17 17 19 20 32 . The rhythm is played in drop C F =D tuning but Alexi uses D tuning to play the lead.In Your Face Guitar Writing a Lead “Blooddrunk” Solo Dropped “C” Tuning =D =C =A =G =F =C In this lesson Alexi shows how he creates a lead by improvising over the rhythm and finding sec“D” Tuning = D C tions that =work best each time to build a great lead. Dropped “C” Tuning =D =C (thinnest string) =A =G 2 =F = C (thickest string)  4 4 4 2 0 0 0 0 Ex.

In Your Face Guitar Writing a Lead “Blooddrunk” Solo Solo 1 full  17 16 P full 17 16 16 T P H  full T P H T P 1/2 21 14 17 19 14 17 H 17 17 16 14 P H 1/2 1/2 1/2 T P H 1/2 (17) 14 17 19 14 17 T P H 19 14 17  17 1/2 19 14 17 17 (17) 1/2 17 17 14 14 16 21 17 21 17 15 17 1/2 19 14 17 19 15 15 15 15 P.M.  12 14 16 14 11 14 12 14 16 12 14 17 14 16 17 33 17 19 16 18 19 1/2 19 16 17 19  P.M. 1/2 14 16 17 (17) H 1/2 sl. 1/2 T P 1/2 14 16 17 16 14 17 14 15 17 15 14 16 13 14 16 14 13 16 12 14 16 14 12 Tremolo Picked P.M.  14 17 19 19 16 1/2 (19) 18 P 17 19 19 1/2 16 1/2 (19) 18 P 17 19 19 18 16 1/2 1/2 (19) P 17 19 16 18 19 17 19 21 w/bar 16 17  16 .

 19 17 16 18 19 1/2 19 17 19 19 In Your Face Guitar 16 1/2 (19) 18 19 P 16 1/2 17 19 1/2 18 P (19) 1/2 17 19 18 16 19 1/2 (19) 1/2 5 19 17 17 17 15  1/2 14 17 13 full 17 X X 17 17 17 17 17 (17) 14 17 14 16 14 15 14 16 sl. 17 17 17 14  24 P 21 H 17 19 18 19 21 17 21 17 19 14 18 TH  17 1/2 16 21  full 10 1/2  17 full 8  rake H 0 12 17 17 17  w/bar full 7 w/bar  18 21 w/bar 1/2  16 19 P  Solo 2 19 17 17 TH 21 24 P 21 H 17 19 18 19 17 TP 21 24 18 19 17 1 1/2 21 34 .M. 15 15 14 16 14 15 14 16 14 15 15 H 17 15 P 14 17 sl. P.

2 5 4 2 5 4 2 4 2 4 2 2 4 2 4 6 4 5 4 5 . 14 (16) 15 15 16  P.H.H. In Your Face Guitar  H 21 20 19 17 19 17 19  17 17 19 17 17 19 17 19 Solo 3 14 16 17 16 14 17 14 16 17 16 14 17 14 16 17 16 14 17 14 16 17 16 14 17 14 16 17 16 14 17 14 16 17 16 14 17 19 16 17 19 16 17 19 16 17 19 16 17    hold bend T full P 22 19 P 21   w/bar  15  35 3 16 17 16 14 17 17 21 17  17 hold bend P 1/2 14 14 P. 17 14 16 14 14 16 16   19 15 sl. 15 0 15 2 4 sl.

16   w/bar In Your Face Guitar 17 0 sl. 5 7 4 2 2 2 4 6 5 4 w/bar 14 16 full   7 P 9 7 0 7   A.H. 5 5 4 7 3 Solo 4  2 4 w/bar  15 17 14 16 H 14 14 X H P full 17 15  1/2 14 16 TP H full 14 17 14 19 14 17 17 14 15 16 14 15 16 full 19 14 17 17 16 14 15 17 16 14 T P H 16 1/2 17 16 TP H 14 16 16 full 19 14 17 17 17 14 1/2 14 1/2 17 16 17 16 TP H full 19 14 17 17 16 17 14 14 14 16 17 17 14 16 17 36 . 2 5 4 2 5 4 2 4 2 4 sl. 16 15 19 15 sl. 14 (16)  3 15 15  hold bend 14 14 P.T full P 22 19 P 21   15  17 16 14 17 17 21 17 17 P 1/2 14 14 16 16 14 16  P.H.H.

  In Your Face Guitar 14 15 16 14 15 P 14 17  17 17  14 14 17 17 19 17  Lick 1 T P  H T P 1/2 19 14 17 19 17 14 15 16 P 14 14 14 17  19 T P H 17 14 P 17 14 14 14 w/bar 21 16 P 14 14 15 14 16 16 14 14 14 T 14 17 16 14 17 P 19 14 21 16 17 17 17 16 18 T 1/2 19 14 17 19 17 14 15 16 14 15 16 14 15 16 14 15 16 19 17 17 17 19 T P H 19 T P 17 1/2 19 14 17 19 17 14 16 17 14 19 19 21 T P 19 H T 16 17 15 P 19 14 17 19 17 14 16 17 14 16 17 37Lick 3 21 1/2 (17) Lick 2  17 P 19 P 16 full 1/2 17 14 H 14 21 17 15 1/2 .

 In Your Face Guitar 14 16 17 14 14 15 16 14 15 16 14 15 16 14 15 16 16 17 14 16 17 14 16 17 Lick 3 21 17 17  18 21 19 15 15 18 16 19 19 Lead Technique Tapping Sequence Lick 1 H   H 15 17 T P TP H P 17 15 19 P H T P T P 19 TP 20 P P T P 19 T P 21 19 21 19 17 16 24 19 24 19 17 16 P 20 TP 19 P P 17 P T P 15 T P T P 20 TP 19 P 20 P 19 P 17 15 P 21 19 21 19 17 16 24 19 24 19 17 16 21 Lick 2 T P  19 H 12 T P  20 T P 15 17 H 12 H 12 T P 15 19 T P 15 17 H 12 H 12 T P 14 17 H 12 T P 15 19 T P 14 H 12 19 H 12 T P 14 T P 15 17 17 H 12 T P 14 12 T P 14 16 H 12 15  H 12 19 H full 15 22 38 .

T  19 P full (19) w/bar P 14 12 12 (7 ) 5 0 17 13  (5 ) Part II  16 17 20 16 17 17 16 17 20 16 w/bar 20  39 18 19 17 18 17 17 17 20 19 17  17 16 P 17 20 P 17 19 17 20 16 H 17 20 17 .T P  H H T P H T P H T P H T P H In Your Face Guitar 19 12 15 T P  T P 20 17 H 12 12 19 15 T P 15 17 12 H 12 14 17 12 T P 14 H 12 19 15 12 19 14 17 T P 15 12 T P 14 12 12 19 T P 14 16 H 12 15  H 17 H full 15 22 Complete Lead “Everytime I Die” Part I  w/bar  19 17 14  w/bar 15 17  Harm.

 In Your Face Guitar w/bar 20 19 18  17 18 17 17 17 20  P 17 20 P 17 20 19 H 17 20 17 Part III P 1 1/2 (20) 20 17 17 20   Part IV  17 19 20 20 17 18 17 19 19 19 17 1/2  P (19 ) 19 17 19 Part V 20 17   20 17 IPart V  17 20 17 19 17 20 19 17 20 17 19 17 19 17 19 17 H H 20 19 19 17 17 17 17 20 19 17 19 17 19 17 19 17 T P 20 17 24 20 17 20 19 17 19 17 19 17 19 17 P 20 17 20 20 19 17 19 17 17 P 17 17 17 19 19 20 17 40 .

In Your Face Guitar Chapter Six Infusing Other Styles Into Metal .

X X X 10 11 11 12 10 11 X X X 14 14 11 42 . 10 11 X X 11 12 X X 10 11 sl.In Your Face Guitar Funk Techniques for Metal Guitar Rhythm 1  15 X X X 15 X X X 15 X X X 15 X X X 12 X X X 12 X X X 12 X X X 12 X X X Rhythm 2  15 X X X 14 X X X 14 X X X 13 X X X 15 X X 14 X X X 14 X X X 13 X X X 12 X X X 11 X X X 10 X X X 12 X X 11 X X X 10 X X X 9 X X X Rhythm 3  Triplet Triplet 15 X X 14 X X X 14 X X X 13 X X X 12 X X X 11 X X X 10 X X X 12 X X 11 X X X 10 X X X 2 2 9 X X X X X 2 2 9 X X X  X X 5 5 X X X X 7 7 X X X X 4 5 5 5 0 0   X X X 15 X X X 14 X X X 14 X X X 13 X X X Metal Riff  9 X X X X 5 5 X X X X 7 7 0 0 0 0 0 0  With Palm Slide To Create Harmonics H X X X 4 5 5 5 3 P 5 3 In Your Face Riff 1/2  11 14 1/2 1/2 11 14 11 13 13 13 10 13 11 13 11 13 11 16 11 14 1/2 11 14 sl.

In Your Face Guitar Blues Techniques for Metal Guitar Lick 1 13 10  13 10 12 10 12 10 12 Lick 2 13 10 10 13  13 12 10 12 Lick 3 13 10  10 12 12 10 12 Lick 4 1/2  43 12 1/2 13 13 13 .

In Your Face Guitar Blues-Metal Solo 1/2  1/2 10 10 10 10 10 10 10 13 10 10 10 10 10 10 13 13 10  12 13 10 12 10 10 12 13 12 10 10 12 12 10 1/2  10 13 10 12 10 12 10 12 10 12 15 10 13 10 13 10 12 13 12 P. 10 10 10 12 13 10 12 10 full 14 13 15 13 15 P (15) 13 15 44 . 12 10 12 11 10 8 1/2 10 10 13 10 12  13 13 10 10 13 10 13 10 12 10 13 12 10 12 P sl. sl. 1/2 10 10 10 13 10 10 12 12 sl. 10 12 10 8 10 1/2 10 10 13 10 12 10 10 sl.H.

In Your Face Guitar DVD 2 Chapter Seven Bending .

In Your Face Guitar The Scream Bend sl. P full 16 17 16 full full 17 17 17 17 17 15 17 17 17 16 15 17 17 full 17 17 17 17 full 17 17 17 17 17 17 The Over Bend full 19 1 1/2 19 19 19  sl.  sl. 1 1/2 19 18 17 15 19 17 15 15 17 18 19 15 16 17 46 .  17 19 17 19  sl.

12 10 12 14 . P full 47 14 12 17  1/2 12 19 14 14 1/2  1/2 The Semitone Bend 15 12 17 full P 15 19  1/2 1/2  1/2 19 15    full 1/2 12 15 12 14 12 14 12 14 12 14 14 12 14 12 14 14 14 12 14 12 14 12 10 P  H sl.In Your Face Guitar Intro a Riff with a Bend  full 15 15 12  1/2 full 17 15 12 12 14 15 12 19 17 14 12 14 12 14 14  P P P 14 14  14 12 P sl.

full “D” Tuning =D =C =A =G =F = D (thickest string) 0 0 0 0 3  P.M. 3 0 0 0 0 0 0 0 0 0 0  P.In Your Face Guitar Double Stop with the Whammy Bar     w/bar  full  15 15    w/bar -1 -1 full 22 22 Bend and Tap T P P T full  P full 15 19 Dropped “C” Tuning =D =A =F P 19 15 12 14 15 15 14 12 14 =C =G =C “D” Tuning =D =C =A =G =F =D Bending as a Rhythm Technique “Living Dead Beat” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string)   P.M.M. full 1 1 0 0 0 0 7 x 5 7 x 5 7 x 5 7 x 5 48 .

In Your Face Guitar Chapter Eight Crazy Guitar Sounds .

5 4 0 0 2 3 0 0 3 2 0 0 2 3 0 0 0 0 0 50 .H.=F =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)  (thinnest string) Pick Scrapes      X “D” X Tuning = DX =C =A =F =G = D (thickest string) X X X 0 0 0 "The Hangover Hand"   X X X               X X X X X X X X X  Dropped “C” Tuning =D =C X =A =G =F =C “D” Tuning =D =C =A =G =F =D Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string) “D” Tuning =D =C =A =G =F = D (thickest string) (3)  N. N.  3 3 3 3 0 0 sl.H. (3) (3) 0 0 Rake Harmonics “Six Pounder” N.H.  0 0 0 0 6 5 3 0 4 3 1 0 6 5 3 0 4 3 1 (3) 0 0 0 (3) 0 0 0 0 0 0 0 0 0 0 0 0 6 5 3 0 4 3 1 0 6 5 3 0 4 3 1 sl.

In Your Face Guitar Chapter Nine Syncopations .

 X   Riff  X  3 3   7 5 7 5 52 . 7 5 7 5 0 0 0 0 0      9 7 9 7 X  X  0 0 0 0 0     0 0   0 0   X  X  X  7 8 5 10 8 7 10 8 0 5 3 5 3 0 0 0 0           0 7 0   8 6 8  5 7 4 3 3 3 3 3 X   P.M.=F =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D Syncopated Rhythm “Roadkill Morning” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string)  “D” Tuning =D =C =A =G =F = D (thickest string) 0 0 X   X  X  P.  P. 7 8 5 7 X  P.M.M.M.

M. 10 8 X   0    Riff  0    0 0 0 0 0 0       0 0 0    0  7 5 7 10 8 9 7 .M. 10 8 0      Riff    0  0  P.=F =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string)  Syncopated Rhythm “Needled 24/7” “D” Tuning =D =C =A =G =F = D (thickest string) 0 0 X    0 X  0 X   X X X X X X X X X X        X  X X X X X X X X X        X X        X X X    X X 0  0 0 9 7 0 0 0 0 0 0 0 0         0 0  0 0 0 53 9 7 0  0 0 0    12 10 12 10 0  P.

M.M.M. P.=F =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D Syncopated Rhythm “Lobodomy” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string)  “D” Tuning =D =C =A =G =F = D (thickest string)  Riff X X X 0 0 X X X X 0 0 0 0 0 0 X X X 0 X  0 0 0 0 0 0 0 0 0 0  P.  X       P. 3 3    0 X 0       P. 5 3 5 3 3 3 3 3 3 2 2    0 0 0 0 0 0     0 0 0 X X X    0 P.M. 0 0 0 0  0 0        P. 0 0 0 0 0 0 0 0 0 X X X 0 X 0 0 0 7 8 5 0 0 0 0  6 0 0 0  7 8 5 X X X    X X X 3 3 3 3 0 6 0 0 0 0 0 0 0 0 0  P.M.M.M. 3 3 X X X     P.  0 7 8 5 8 5 6 8 9  7 5 7 6 8 9 54 .M.

In Your Face Guitar Chapter Ten Songwriting Dynamics .

=D =A =F =C =G =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D Dynamics .M.M.H.  P.All Down Strums “Punch Me I Bleed” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) (thinnest string) 5 3 X 5 0 0 0 0 0 6 X 6 5 X 5 0 0 0 0 3 7  P. “D” Tuning =D =C =A =G =F = D (thickest string) Dropped “C” Tuning 6 3 5 0 =D =C =A =G =F =C  (thinnest string) “D” Tuning =D =C =A =G =F =D 6 3 5 5 0 0 6 3 5 2 6 2  “D” Tuning =D =C =A =G 6 5 0 =F = D (thickest string) X 6 6 Dynamics . 0 0 0 4 4 5 56 .Playing Aggressive “In Your Face” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)  P.

In Your Face Guitar Chapter Eleven Playing Slow .

2 2 5 5 5 5 6 6 5 5 5 5 5 5   w/bar 3 3 2 2 5 5 5 5 5  6 58 .In Your Face Guitar Playing Slow “Punch Me I Bleed”    3 3 2 2 5 5 5 5 3 3 2 2 5 5 6 6 1 1 0 0 3 3 1.  1 1 2 2 3 3 2 2 1 1 2 2 3 3 0 0 3 3 1 0 0 1 0 0 3 3 5 2.

In Your Face Guitar Chapter Twelve Full Songs .

=F =C In Your Face Guitar “D” Tuning =D =C =A =G =F =D “Blooddrunk” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) “D” Tuning =D =C (thinnest string)Intro =A =G =F = D (thickest string)    P.M. 0 0 0 0 0 0 10 8 12 0 0 0 3 3 3 3 3 3 P. 8 13 13 15  P.  P.M.M.M.M. 8 15 5 7 6 0 0 0 0 0 0 0 0 0 P. 3 3 3  P. 0 0 0 4 4 4  0 0 0 P. 10 8  P.M.M. rake (3) (3) (3) 0 3 3 (3) 3 (3)  P. 7 7 6 6 6 6 10 7 8 8 8 6 6 6 60 . 0 0 0 P.M. 0 0 0 13 0 0 0 0 0 0 P.M.M.H.M.M.M. (3) 5 5 5 5 5 5 5 5 5 8 6 8 6 8 6 8 0 8 0 0  N.M.M.M.M.  12 10 Verse Rhythm  12 12 13  10  2 2 2 2 2 2  8 14 12 15 8 P. 3 3 3 3 3 3 3 3 3 3 3 3 5 3  Main Melody 13  10 10 15 13 13 12 15 14 15 13 13  0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Harmony P. 4 4 4 13 12 12 15 12 P. 0 0 0 P. 3 3 3 13 13 14 P. 12 10 10 13 12 13 13  0 0 0  5 7 0 0 0 6 0 0 0 0 0 0 P.

2 2 2 2 2 2 2 2 2  2 2 4 4 4 4 4 4 2 2 2 2 6 0 0 0  2 2 2 4 2 4 2 4 2 5 5 5 2.M.M.  0 0 0 0 0 0 0 0 0 P.M. 0 0 0 0 0 0 0 0 0 0 0 0 4 4 4  Harmony Harmony P.M.  0 0 0 0 0 0 0 0 0 3 3 3 0 0 0  0 0 0 4 4 4 0 0 0 4 4 4 0 0 0  P. 0 0 0 0 0 0 0 0 0 P. 3 3 3 0 0 0 0 0 0 2 2 2 2 2 2 2 P.M. 2 2 2 2 2 2 2 2 2 2 2 2 P. 0 2 0 2 2 0 2 0 0 0 0 0 0 0 0 0 0 0 0 6  1.M. P.  8 P.M. 4 4 4 0 0 0  6. P. 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2 0 0 0  2 2 2  2 2 2   2 2 2 2 2 2 3 3 3 10 3 3 3 9 10 8 6 6 6 9 8 8 8 6 6 6 4. 5 2 2 2 0 0 0 0 0 0  8 8 8 6 6 6 P. P. 2 2 2 7 6 6 6 3 3 3 2 2 2  P.M.M.  P.M.  6 2.M. 7. 4 0 0 0 2 2 2 P.M. 2 5 4 2 2 2 2 2  P. Bridge  In Your Face Guitar 3 3 3 0 0 0  3 5 3 5 3 5 2 0 2 4 5 8. 2 2 2 2 0 0 0 P.M. 7 5 0 0 0 6 5 5 6 7 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 Chorus   61 1.M. P.M. P 2 2 2 3 3 3 5 5 5  w/ bar 5 2 2 2 2 0 2 4  5  2 2 4 4 4 4 4 4 2 4 4 4 4 0 4 0 4 0 H 11 11 9 9 9 9 11 11 9 9 9 9 5 11 11 9 7 7 9 11 11 9 7 7 9 5 9 9 7 7 7 7 9 9 7 7 7 7 5  . 3. 5.M.M.

  P. Guitar Lead 2 4 4 7  0 0 0 0 0 0 0 0 0 21 22 22 22 2421 19 21 21 21 2219 17 19 17 19 211919 14 P.M.M.M. 21  P. 15 16 15 1715 62 .M.  79 22 21 24 4 57 9 9 7 9 9 7 7 9 9 9 911 7 7 7 7 9  6 79 67 2. 1 1/2  24 4 7 911  P.M. P.M.  P. P.M.M.  2 2 4 4 4 4 4 4 2  11 11 11 6 6 6 7 7 7 5 5 5 9 9 9 4 4 4 7 7 7 5 5 5 7 7 7 5 5 5 H 11 11 11 6 6 6 7 7 7 0 2 2 9 9 9 4 4 4 7 7 7 0 2 2 7 7 7 0 2 2 Breakdown 4 4 4 6 4 2 0 2. = Pick Slide  4 9 9 9 9 9 9 9 9 911 9 9 9 9 9 9 full 4 444444 44 P.  2 2 4 4 4 4 4 4 2 4 4 4 4 2 4 2 4 2 5 5 5 4 4 4 11 11 9 9 9 9 11 11 9 9 9 9 5 11 11 9 7 7 9 11 11 9 7 7 9 5 9 9 7 7 7 7 9 9 7 7 7 7 5 4 0 4 0 4 0 In Your Face Guitar 2.S.M. w/bar 5 7 * P.M.   4 44444  44  Keyboard Solo Rhythm P. P.  9 9 9 2 2 2 H P P full 14 14 16  14 17 17 16 14 21 19 21 19 17 17 19 17 1/2 14 17 14 16 141617 14 1617 1416 17 14 16 17 21 17 19 21 22 19 21 22 24 21 22 24 sl. 911  P.M. 1.M. 1.M.S. P. w/bar 10 12 full 19 17 19 17 15  P. 6 6 6 666 68666666 full   full X H P P     full 24 full 24 15 17 15 17  44444 44 4  full 6 6 6 666 68666666 1. P.

Dropped “C” Tuning =D =C =A =G =F =C (thinnest string) 141617  full 24 15  1/2 7 7   2 0  P.  3 5 0 0 5 5 5 3 3 3  0 0 0 8 6  P. 0 0 2 0 3 0 2 0 0 2 0 3 0 2 2 0 7 5 7 5 9 7  5 7 5 7 1.M.H. P. 15 16 15 1715  3 2 0   4 2 0 2  3 0 0 0 3 2 0 5 2 3 3.H P P  full 19 17 19 17 15   full 24 17 15 17 14 In Your Face Guitar 17 14 16 24 21  22 21 24 21 22 22 Main Riff   2 3 2 0 2 Verse P.M. 5 2 7 5   7 7 7 5 5 5 2. 4 2 0 5 0 5 0 0 0 P.M.M.H. “D” Tuning =D =C =A =G =F = D (thickest string) 2. P.    3 2 0 2 3 2  3 0 0 0 3 2421 19 21 3 0 21 2 2219 17 14 16 17 21 17 19 21 22 19 21 22 24 21 22 24 19 P.M. P. 0 6 0 6 0 0 2 0 3 0 2 0 0 2 0 3 0 2 17 19 211919 14 P.H. 7 7 7 7 9 9 10 10  X X 12 X X 11 X X 12 X X 14 X X 12 X X 12 5   .M.H. 63 21  Bridge  17  5  6 3 0 2 22 1. 1416 “Tie My Rope” Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string) 0 1617 2 2 0 2 2 2 0 2 2 2 2 2 0 2 “D” Tuning =D =C =A =G =F =D    14 sl. 0 0 2 0 2 0 5 0 0 2 0 2 0 5 4 2 5 3  P.

M.M.  2 2 2 2 2 2 9 7 7 5 2 2 0 0 2 2 2 2 2 2 5 5 5 0 Chorus Melody 1/2    P. 15 13 17 15 13 15 15 15 15 17 17 15 15 13 13 15 15 15 15 13 13 2.M. 6 4 6 4 4 2 6 4 4 2 6 4 4 4 4 0 0 2 2 0 4  P. 15 15 13  13 13 13 13 13  1.In Your Face Guitar Breakdown  6 4  P. 13 15 16 15 13 14 13   16 13 13 15 15  1/2 15 17 15 18 16 13 Keyboard Guitar Interlude First Part  H 13 11 11 13 11 14 H 13 H  20 18 18 20 18 21 11 13 H 13 11 11 13 11 11 13 16 14 14 16 14 18 H 16 14 16 16 14 14 16 14 H 20 18 20 14 16 1/4 20 18 18 20 18 18 20 23 21 23 23 21 23 23 21 23 23 21 23 23 64 .M. 1/2 15 15 17 P.

11  18 10 Second Part 13  10 11 14 18 11 14 13 11 14 14 13 11 18 14 18 15 18 15 In Your Face Guitar 11 16 13 11 13 11 14 17 14 13 11 14 15 17 15 18 15 20 17 15 18 17 15 17 15 18 18 17 15 Second Part 13   13 11 17 15 17 15 20 17 15 17 14 14 13 11 18 18 17 15 15 15 18 20 10 20 18 20 22 2414 18 18 20 24 24 24 24 18 18 20 22 22 22 24 20 22 22 24 22 24 22 24 17 11 20  17 Ending 20 P  24 18 18 17 17  Ending Part I P 13 20 20   18 20 22 21 18 18 18 20 22 24 18 20 22 18 20 22 20H22 P 24 20 22 17 22 18 20 24 H Part I Part I P 11 16 13 11 18 20 22 22 24 17 17 15 12 Guitar Lead 22 Ending 17 11 14 15 12 17 15 12 22 17 21 17 15 17 15 12 17 15 H 17 22 22 21 22 17 24 12 H 17 17 17 15 15 12 15 12 12 17 17 24 17 2417 17 17 15 2212 15 1222 22 17 22 17 15 17 15 21 21  14 13 14 13 12 12 12 14 14 14 13 12 14 13 13 12 14 13 13 12 14 13 12 12 12 14 14 14 14 12 15 14 14 12 15 14 14 12 15 14 12 12 12 15 15 12 Part12III13 14 Part III 12 13 14 12 13 14 Part IV 22 21 17 15 14 12 12 12 13 14 12 12 14 15 15 12 17 15 12 12 13 14 12 12 14 15 12 12 13 14 12 12 14 15  12 14 15 14 1/2 24  22 14 17 14 24 14  12 H  TP T  rake    P P rake X  hold bend rake 20 17 22 17 17 15 17 full 17 TP T P P TP T P P     17 1/2 20 17 22 17 17 15 20 17 22 17 17 15 X X X X X 17 1/2 1/2 17  1/2 12 14 1/2 12 14 15 14 17 17 15 14 12 14 12 14 14 24 24 17 17 12 22 22 17 15 14 12 14 12 21 14 14 15 12 17 15  24 22 24 H 12 P full  12 14 15 14 22 21 15 12 17 15 hold bend 1/2 65  22 17 17 15 24 H full Part III  22 24 hold bend Part II  24 P Part II Part14II 13 17 24 22 22 17 15 12 15 21 12 17 15 P17 15 12 15 12 22 24 24 24 24 24 22H 24 P 22 24 22 24 22 H24 P 24 12 24 22 24 15 12 14 12 1/2 14 14 12 1/2 12 15 12 14 12 15 12 14 12 15 14 12 15 14 12 15 14 12 14 14 14 14 14 14 14 14 14  12  12 12 .

17 15 12 17  15 12 17 15 12 17 15 12 15 12 12 17 15 In Your Face Guitar hold bend Part II  full 14 13 12 14 13 12 14 13 12 14 14 12 15 14 12 15 15 12 17 15 1/2 12 13 14 12 14 15 12 12 13 14 12 12 14 15 14 17 TP T 14  14 14 12   rake P P 1/2 20 17 22 17 17 15 X  Part III  17 15 14 12 17 X  1/2 12 14 15 12 14 12 15 14 12 14 14 14 12 Part IV  19 17 16 17 15 19 17 15 17 15 16 14 17 14 16 14 17 16 14 17 14 14 17 14 17 14 17 14 17 14 14   Whammy Dives  14 14 12 12 14 14 11 11 12 12 12 12 12 12 17 17 66 .

M. 1. 9 7 7 5 sl. 7 5 0 9 7 0 0 0 sl. 9 7 7 5  P.M.     0 7 5 sl.  0 9 7 2. 9 7 0 1. P. 9 7 7 5 sl.M.M. 2 0 2 0 2 0 2 0 5 3 5 3  Verse sl. sl.M.  sl. 9 7 7 5  9 7 6 7 0 6 7 X X X  0 0 6 7 0 .M. 7 5 sl. 9 7   7 5 0 0 9 7 0 7 5 7 5 9 7  0 0 2. 0 7 5 9 7 X X X X X X sl. 9 7 0 0 0 0 sl. P. 9 7 0 0 0 0 5 3 5 3 sl. 9 7 7 5 P. 67 7 5 9 1. 9 7 0 0 0 2. P. 7 5 9 7 5 3 5 3  0 0 5 3 0   5 3 sl. 7 5 sl. sl.  0 2 0 2 0 sl.M. P. 9 7 7 5 9 9 9 7 7 7 7 7 7 7 7 5 5 5 5  P.In Your Face Guitar “Hatecrew Deathroll” Intro sl. 7 5 9 7 2 0 2 0 sl.    7 5 sl. 9 7 0 0 0 7 5 0 sl.

M.M. 3 P.M.  7 7 9 9 7 7 7 9 9 7 7 7 9 9 7 8 9 9 7 8 9 9 7 8 9 9 7 07 4 0 1 0 0 1 0 4 0 2. 0 P.sl.M.M.M.M. 9P. 0 9 7 0 0 2. 5  P. P. P.H.  P. 5 7 5  7 10 P.9 A. 0 0 7 5  9 7 7 5  P.M.M.M. 0 0  sl.  10  1 0 0 0 8 10  1. 9 7 0 0 0 0 0 0 0 0 6 6 7 7 7 7 5 5 6 6 7 7 7 7 5 5 6 6 7 7 7 7 5 5 0 0 0 0 sl. 9 7 7 5 9 7 9 7 7 5 P. 07 0 w/bar sl.  P. 9 07 10 0 10 12 0 8 4 0 101 0 0 0 2. P.H.H. 8 P.M.H.M.M.M.M. Verse 0   sl. 7 Verse   5 7 5 sl. 7 5 0 7 5 0 sl.M.M. 2. 2 20 0 2 20 0 2 20 0 0 0 2 20 0 5 53 3 5 53 3 5 53 3 5 53 3 0 0 0 0 1. 9 A. 1 0 P.M.H.  P. 9 5 0 5 70 P. Bridge   1 1 0 4 0 1 1 1.1. 7 5 7 5 0 9 7 9 7 P.  P. P. Bridge 2 0 12 0 1 10 0 0 0 0 9  8 8 Break Transition Riff 9 9     0 07 0 0 8 9 A.M.M. 9 A.H.H.M.M. 5 90 5 7 0 P. 7 5   0 0 sl.M. Bridge 2  0 P.M. 0 0 A. A.M.       P.   P.M. 4 0 0 7 7 9 9 0 70 0 1 0 0 0 0 0 0 0 0 7 7 9 09 0 7  5 0 0 0 0 0 0 0 0  7 7 A.M.9 9 8 P. 9 9 10 1 7 0 10 4 0 9 7 10 7 7 9 09 0 7 7 7 9 09 07 sl.    68 .M.M. 5 7 5 12 10 P.H.H. P. 0 0  sl. 10 8  0 0 0 8 9 9 7 7 8 8 6 7 8 8 6 7 8 8 6 8 9 9 7 8 9 9 7 8 9 9 7 0 12 10 8 9 A. P. 0 sl. 9 7 9 7 7 5  9 7 0 9 7 0 0 0 0 0 sl.  P.M.     9  9 10 3x 7 7 A. 9P.   In Your Face Guitar P.

P. 1.M.M.M.H.M.H.M. 11 16 6 6 0 sl. 3 3 15 0 17 0 15 8 9 9 7  22 0 12 8 9 9 7 21 21 3 3 0 15 11 14 0 0 12 15 14 8 9 9 7 21 7 8 8 6 15 P. 3 3 19  11 0 0 15 0 11 13 7 7 9 9 7 16 16 10 7 7 9 9 7 P.H. 0 12 7 8 8 6 0 10 14 6 6  7 8 8 6 w/bar 5 P.M. 3 3 10 A. 5 0 0 P.M.M. 1/2 12 15 14 12 15 14 12 12 13 12 14 10 10 14 12 12 12 15 14 12 15 15 15 12 15 12 14   . 14   13 22 P.H. 8 9 9 7 3 3 15  sl. 6 6 0 15 14 P.M.M.M.M.M. 15 17 17 14 17 14 P. 3 3 17 7 12 7 9 9 7 22 22 P. 2. 15 12 15 12 P. 1. 5 0 0 0 P.M.M. 0 0  A. P.  w/bar 0  A. P.M. 0 0 5 0  A. (17) 0 P.H.M. 15 14 12 3 3 0 14 0 3 3 0 5 1/2 P.H. In Your Face Guitar  A. P. 14 5 3 full P.  A.M.M. 6 6 0 7 17   10 0 8 7 0 5 Chorus  13 12     0 P.   P.M.M. 8 9 9 7 8 9 9 7 7 7 9 9 7 12 0 12 12 12 14 3 3 10 0 0 12 7 7 9 9 7 7 7 9 9 7   69 3 3 0 14 0 12 15  17 0 11 14 15 P. 15 6 6 0  P. 18 15 17 3 3 0 0 0 3 3 0   11 14 8 9 9 7 8 9 9 7 17      13 8 9 9 7 17  17 17 P.M.M. P. 0 5   17 Solo 1/2 Bridge 3     P. 6 6 0 19 0 17 2.M.

M. 0 0 P.H. P.M. (17) (17) 0 0 0 5 5 1/2 17 17 15 15 14 14 0  0 0 0 0 0 0 0 0 70 0 12 15 14 14 0 13 0 15 012 0 5 12 5 12 In Your Face Guitar 0 0 A. 14 14 12 12 10 0 10 0 0 0    w/bar sl. 12 10 P. 18 15 15 18 15 17 15 17 14 17 14 17 17 14 17 14 0 13 13  12 15 14 12 P. A.M. P.   14 3 3 17 17 17 17 16 16 16 17 17 17 17 16 16 16   11 11 A.M. A.H. 7 5 7 5 3x 3x P.  A.M. sl. 12      0 12 10 10 8 0 8 0 0  Transition Riff Transition Riff P.M.H.H. 14 15 14 15 12 15 12 12 8 15 12 15 12 2 12 15 14 8 214 0 6 0 0 0   sl. 12 12 13 13 14 14 11 11 12 12 14 14 22 22 22 22 21 21 21 22 22 22 22 21 21 21 15 15  P.H.M. P. P.M.M. 9 9 0 0 7 7   1/2 15 15 0 0 0 0 0 10 10 11 11 0 0 15 12 15 12 14 17 17 0  P. 95 5 5 10 10 8 0 8 0 50 9 0 0 0 P. sl. P.H. 9 9 9 7 10 9 7 10 7 10 95 7 0 10 0 0 5 0 0 7 0 10 sl. A.H.M.H.M. 12 10 12 14 8 14 0 0 0 7 0 8 7 17 1/2 full full 0 0 A.M.M.  1/2 P. P.M. Bridge 2 Solo SoloP.1/2   12 12 10 0 10 0 7 010 9 5 09 0 5 100 7 0    12 15 15 15 15 12 12 15 15 12 12 12 12 15 15 14 14 12 12 14 14 12 12 11 11 15 12 14 15 17 14 15 17 15 12 14 15 17 14 15 17 10 10 12 12 10 10 10 10 7 7 10 10 8 8 70 .  08 7     0 0 A.M. 0 0 7 14 17 14w/bar 10 14 15 10  14 14 11 11 13 13 11 11 12 12  15 15 17 17 19 19 15 15 17 17 19 19 17 17 9 0 100 9 10 7 10 9 10 7 10 A. P.M. A.H.H.M.

In Your Face Guitar   w/bar w/bar   5 3 5 5 3 5 8 5 8 8 5 8 10 8 10 12 10 12 10 8 10 12 10 12 15 12 14 17 15 17 15 12 14 17 15 17 full full 20 17 20 22 20 22 20 17 20 22 20 22 22 22 full 22 22 22 22   hold bend hold bend   full 1/2 full 1/2 H H   8 8 TP P TP P 7 10 15 10 7 7 10 15 10 7 15 15 H H 8 8 8 8 7 7 T T full 15 15 15 15 14 14 7 7 full H H 8 8 8 8 7 7 20 20 T P T P   71 18 18 TP P TP P TP TP P P 15 15 H H 8 8 P P 8 8 7 7 P P 15 15 TP P TP P 7 10 12 10 7 7 10 12 10 7 TP TP T P T P P P 8 8 P P 15 19 20 19 20 19 15 17 15 19 24 19 15 17 15 19 20 19 20 19 15 17 20 19 20 19 17 15 17 15 19 24 19 15 17 17 16 17 20 19 20 19 17 15 16 17 16 17 16 17 17 15 19 17 15 19 T P T P   15 15 7 10 12 10 7 7 10 12 10 7 T P T P   T T 20 20 TP P TP P 7 10 14 10 7 7 10 14 10 7 P P full 19 19 T P T P 20 20 TP TP 19 19 P P P P P P 15 15 P P 17 17 T P T P T P T P 20 20 T P T P 19 19 TP TP 20 20 P P P P 19 19 P P P P 17 17 T P T P T P T P 15 15 21 21 TP TP T P T P 19 19 P P P P 21 21 P P 19 19 T P T P P P 17 17 T P T P 16 16 TP TP 24 24 P P T P T P 19 19 24 24 P P 21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16 21 21 P P 19 19 P P 17 17 16 16 .

In Your Face Guitar C H B O C 72 .

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