I was just reading a post on picking & it was suggested that after you get up to speed on tremolo picking a single note you should try the
“ Yngwie 6 note lick “ Before going to string crossing licks .
Can someone explain the “Yngwie 6 note lick “ or point me to a demo
I’m currently working on my legato as my left hand was not so good .
Thanks Paul
It’s this one:
well technically isn’t it also 15-14-12-11-12-14 also? LOL This one I would see even more basic before jumping to that 312321 pattern.
Really? I find that one insanely hard, the other one I can rip all day, I think most people are referring to 312321 when they mention Yngwie 6s, even though I think I heard Al Di Meola do it first 
it’s funny cause the other day my brain thought oh this guy in this post is talking about the 312321 pattern, then today i thought wait there is also this pattern. I think this more basic looper is the one grisha uses when teaching flamenco picado to beginners 0-1-3-4-3-1. the difference being, they are ending on a different tone of the fragment. resolution of grisha is phrygian, yngwie is more minor.
Thanks so much guys, really appreciate it
Have a great day
So the “Jet to Jet” interlude lick? It’s a really good test of pick and fretting hand synchronization.
That lick is probably the most terrifying on the whole album.
This is 1983 it made the stuff EVH and Randy had done look like child’s play.
(this vid reminds me I hope we get an album out of Graham Bonnet’s Alcatrazz with Loomis on guitar.)
That’s the one! That lick was a huge turning point for me, felt so good when I could finally play it up to speed with the original
Thanks guys appreciate it
Those pedal point style sequences are my favorite bits in neoclassical style playing. Sounds like something Bach, Vivaldi, or Mozart could have written for keys.
Luca Turili from Rhapsody (and a whole bunch of other off shoots) is a master at this kind of stuff.
It sounds really cool when a keyboardist doubles it.
this is my opinion but this pattern sounds the most gnarly when incorporating the open string a la Vivace from his concerto album. also can utilize this same single string concept to do diminished pattern run with open string as well that sounds cool. Here it is in PDL6s but you can swap it with YJM6s or alternate back and forth when stepping up through the run. it’s a good pinky independence strengthening lick as well if you have trouble with that digit.
I want anything with Loomis that isn’t Arch Enemy. lol I don’t know AE super well or anything, but what little I’ve seen he seems to be woefully misused, probably to not outshine Amott. His solo stuff/Nevermore/Conquering Dystopia are where it’s at.
It’s more that Arch Enemy has a very melodic sound so you aren’t gonna get a lot lot of the dissonant diminished style stuff that you got with Nevermore and his solo projects. When Chris Amott was in Arch Enemy he played circles around his brother. Mike Amott is very much a Michael Schenker style player he’s super melodic but he’s never been a “shredder.” Great songwriter though.
It’s similar to the situation with Chris Broderick in Megadeth (or In Flames). He’s not going to unleash the full arsenal as it doesn’t fit the band’s style.
Even when Marty Friedman was in Megadeth he wasn’t going full out like he did in Cacophony and on Dragon’s Kiss.
I’d be curious to know how Jeff Loomis is playing that lick, or at least how he’s changing strings. It looks like a very definite DSX motion to my (extremely untrained) eye.
It is DSX, starting with an upstroke - you can see when he hits the first longer note, it’s also an up. Jeff is almost like backwards-Yngwie, technique-wise: lots of descending economy, instead of ascending.
Thank you - I was watching on a tiny phone screen so could only see the broad strokes, so to speak. The man has a great technique, no doubt!
No problem! Jeff is awesome, and can be a great source of inspiration if you’re primarily DSX.
It really is - and a great example of Yngwie’s precision. To get it to sound like Yngwie in my view you have to execute with zero errors - otherwise the flow is lost and the Yngwie sound is lost.
What about when Yngwie himself doesn’t live up to that impossible standard though? lol! I agree he’s super accurate but there’s nothing wrong with this performance, even though the error count is well above zero. I lost track because I ran out of fingers to count the errors on. I was about to undo my shoes to keep counting but the solo was over by then lol
There’s nothing wrong with expecting a lot from ourselves, but zero-errors is a long shot. I beat myself up about this all the time. I maintain a good attitude because I enjoy playing the guitar whether I suck (normally the case) or not (I have my “lucky days”). But I bet I’d be even happier if I stopped caring about little mistakes and just rolled with it. It’s seemed good enough for Yngwie to take that approach even early in his career where he was really on fire, but certainly nowadays there’s virtually nothing he plays that’s error free. In all cases, he is, and sounds awesome.
I agree, not even the best players are going to come out error free. Way to many variables, like what if the player is fighting a sickness that can mess up your senses big time. Here is a video of Christiaan Van Hemert talking about the safer play, and the hardest difficulty of phrasing on his tutorial of La Gitane. He calls it high and low percentage play.
