Yngwie Deja Vu main riff

I’m sure someone on here is familiar with this riff. In the video it looks like there may be a double down stroke economy to get to the A string at some point. A little hard to tell with the quality. But if it’s alternate picked, it seems to defy the typical Yngwie picking rules. Maybe for him it’s not fast enough to warrant economical picking motion.

How would you guys approach this one for RH?

Me personally, I find it better on my picking hand to move the 2nd fret on the A string to 7th fret E, and play the majority of the riff on the E string.

E - 2 4 5 2 4 5 7 4 5 7…

But that’s not as easy on the LH. Also, I wonder why in this video he starts the riff using fingers 1 2 and 3 but then switches to 3 and 4 on the A string…just to confuse people lol?

I think he’s doing something like this ^ in the video.

Personally I kinda prefer

deja vu econ

but both work well in my opinion.

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I agree, that 's the best way to play it for me too.

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Thanks for the responses. And sorry for the late response. Yea both of those methods work well. With Yngwie, it’s difficult to hear when he’s doing hammers and pull offs. On the record it sounds like all alternate. But his sound is kinda muddy so it’s hard to really tell. I actually didn’t know it continued to play that 5th fret as it descends. I learned the riff by ear and wasn’t able to discern that at regular tempo or slowed down.

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It’s a pretty good exercise, the scalar notes are a very typical of his single note runs, play it in all octaves, when you play it up the neck on tighter frets this 1st and 2nd finger approach makes sense. Looks like a patter he worked on a long time ago with that set of fingers, the counter point notes are fun.

That’s a great clip btw; that solo is smokin!

edit: also that open string A, better to play in on the E string 5th fret, that explains his finger choices. Also start the ascending fours pattern on F and go up three octaves, 3 sets of two string patterns and back down again in 4s or mix it up with the counter points etc, fun stuff.

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I’ll have to try moving the open A. Didn’t think about that. The counterpoint part is the hardest part for me. I get confused and I think it’s because of the open string. Maybe that will help.

How would the ascending and descending 4s work across strings? I’ve only done 4s on one string.

… here’s a quick and dirty one of how I usually play them, I think this is pretty standard for this pattern.

Nice playing man! Looks like you are incorporating the same technique in the tab examples?

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Thanks man; I’ve been driving last three days in crazy weather; just got home, I’ll try to record the riff tomorrow. Yes, roughly playing just the components of that riff; added the F note as the first note for the pattern. It’s sounds pretty cool if you omit the A and D too, instant Mahavishnu vibes.

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So you like to come back to the low E string with upstroke. I usually prefer this way too. In terms of CtC lingo, what is this called? It might even be more natural for me to hit the B note on A string with a downstroke to continue the down sweep but come back the A flat with an upstroke.

It’s how I imagine Frank Gambale would play Malmsteen.

Gambale-steen :metal:

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haha Gamblesteen.

I used to do that too, shifting to a lower string with a sweep where it fit. But I had to unlearn that at the end of up sweeps, last note for me must now always be a down stroke, sets me up for the next chunk and I think I prefer the sound too.

Ideja vu sweep

Something like this then?

This is how I’d play it now.
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Sounds great! :metal:

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Thanks mate, just working it up to speed, trying to keep the mud out on the counterpoints, HBs don’t help :slight_smile:

edit: just realised it’s not much faster… got it down then :roll_eyes: Though the rest of the demonstration is a lot more interesting now!

After some experimenting, I think this is the best way to play it; the mystery to this one for me was the fretting hand. The pinky is only used for the counter point note, it seems to make the balance easier. The index, middle & ring finger seems to be the way to go for keeping the pace up and resting the pinky.

During the counter point you have to lift the pinky between notes, so there is no muting necessary, but this pinky lifting and subtle palm muting sound great together.

The highlighted open A in the diagram I think work well. It maintains 3 notes per string on the E string, and I think evens the load out.

Very nice. Chris Brooks plays it the same way so you’re in good company.

Thanks mate.

I think your referring to this video?

Was playing the riff with some drums… I seem to get a better sound from the HB guitar these days.