I have many tricks was inspired by all the Yngwie Malmsteen. I have a lot of good ideas to offer. I am a big Yngwie fan and I have always been impressed by the "sweep picking" idea. Once you complete this leeson you will able to play really fast and sweeping like a true shred god. You must practise with a metronome and if you're patientent you master this stuff. If you find it hard slow it down or ask someone(it helps).

Key - A major
E |--5----------------|
B |----8-p-5----------|
G |----------7b/\5----|
D |----------------7--|
A |-------------------|
E |-------------------|

Sweeping Up With Arpeggios.
A lot of you out there are probably looking to increase your speed as a guitarist. You can go right into playing songs by Steve Vai, Yngwie Malmsteen, and so on. But what good is learning a song when you can't play that fast yet? Well here are some arpeggio scales that may help you in a technique called sweep picking. My style may be unlike many people since I have learned it on my own but I hope that it'll help you in playing. When you play these be sure you follow the pick directions.

Important! Be sure to start off slow and then speed up to warp speed. You will learn better this way. It would also help if you use a metronome. Start at around 50 or 60 bpm and move up to as high as you can go. Some of you may recognize that this is the piece that Ralph Macchio plays in the end of the duel between him and Steve Vai in the movie "Crossroads," the best movie in the world. I have a clip of the entire duel on my website separated into many different real audio files. Come check it out if you'd like.

Sweep Picking Arpeggios

e |-----------------8-12-8----------------|
b |-------------10----------10------------|
g |---------5-9----------------9-5--------|
d |-------7------------------------7------|
a |-----7----------------------------5----|
e |-5-8--------------------------------8--|

e |-----------------7------------------|
b |---------------9---9----------------|
g |-----------7-9-------9-7------------|
d |-------6-9---------------9-6--------|
a |---5-7-----------------------7-5----|
e |-7-------------------------------8--|

e |-----------------7----------------|
b |-------------5-8---8-5------------|
g |-----------6-----------6----------|
d |-------5-7---------------7-5------|
a |-----7-----------------------7----|
e |-5-9---------------------------9--|

e |-----------------10-12-10-----------------|
b |--------------10----------10--------------|
g |---------7-10----------------10-7---------|
d |-------7--------------------------7-------|
a |---5-8------------------------------------|
e |-5----------------------------------10-8--|

e |----------------------------------------|
b |-------------------9-12-9---------------|
g |----------------10--------10-7----------|
d |-----------9-12----------------9-6------|
a |------8-11-------------------------8----|
e |-7-10--------------------------------7--|

e |-------------------5----8-5--12--8--16--|
b |---------------5-----5------------------|
g |-----------5-----5----------------------|
d |-------7-----7--------------------------|
a |---7-----7------------------------------|
e |-5---8-------------------------------0--|

Left Hand Warm Up.
These two exercises will help you warm up your fretting hand. If you haven't already done so, please go do the "right hand warm-up" exercise on my page. The first exercise is really just a simple run in E minor, but it is a good warmup because it uses all four fingers and three strings. Repeat the lick over and over in a cycle. As before in my previous lesson, use a metronome and start slowly. You are not trying to be Yngwie Malmsteen with this. The main goal is to warm up your hands to prevent injury. I have had tendonitis in my left arm before, and it is bad news for guitar players! The second exercise is the same pattern, but the key is C minor, therefore the fingering is a little different. Don't forget alternate picking!

Key - E minor/C minor
Ex.1 (E minor)
E |-------------12----------15-14-|-12----12-------------------------|
B |----12-13-15----15-13-12-------|----15----15-13-12----------------|
G |-14----------------------------|----------------------------------|
D |-------------------------------|----------------------------------|
A |-------------------------------|----------------------------------|
E |-------------------------------|----------------------------------|

Ex.2 (C minor)
E |-------------------------------|----------------------------------|
B |-------------------------------|----------------------------------|
G |-------------12----------15-14-|-12----12-------------------------|
D |----12-13-15----15-13-12-------|----15----15-13-12----------------|
A |-15----------------------------|----------------------------------|
E |-------------------------------|----------------------------------|

Half Tone Drill.
I got inspired by Yngwie when I saw him on the Grammy Award in Sweden, he played a live solo for the audience and he played a drill sequence and I thought that I wanted to play something like that so I just drilled every halftone steps in the Harmonic A Minor Scale.

Key - A Harmonic Minor
|-12h13p12h13-------------|----------------------|
|-------------12h13p12h13-|-9h10p9h10------------|
|-------------------------|-----------9h10p9h10--|
|-------------------------|----------------------|
|-------------------------|----------------------|
|-------------------------|----------------------|

|-----------------------|----------------------------------|
|-----------------------|----------------------------------|
|-----------------------|----------------------------------|
|-9h10p9h10-------------|----------------------------------|
|-----------11h12p11h12-|-----------------------------2----|
|-----------------------|-12h13p12h13-7h8p7h8-4h5p4h5-0----|

Beyond Inspired.
This trick is inspired by a short drill in the song "Far Beyond The Sun" By Yngwie. When you can play it, try changing fingers to drill with each finger.

A Minor
|-----------12h13p12h13-----------12h13p12h13--|
|----------------------------------------------|
|-9h10p9h10-------------9h10p9h10--------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|

|---------10h12p10h12---------10h12p10h12--|
|------------------------------------------|
|-7h9p7h9-------------7h9p7h9--------------|
|------------------------------------------|
|------------------------------------------|
|------------------------------------------|

|---------8h10p8h10---------8h10p8h10--|
|--------------------------------------|
|-5h7p5h7-----------5h7p5h7------------|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|

|---------7h8p7h8---------7h8p7h8--|
|----------------------------------|
|-4h5p4h5---------4h5p4h5----------|
|----------------------------------|
|----------------------------------|
|----------------------------------|

Dim Arpeggios.
Ok, here's a diminished arpeggio trick. The ending of the trick is much like the ending of a dim sequence in the song "Far Beyond The Sun" by Yngwie J. Malmsteen.

Key - C# dim
E |-------9-12-9-------------12-15-12-------|
B |----11--------11-------14----------14----|
G |-12--------------12-15----------------15-|
D |-----------------------------------------|
A |-----------------------------------------|
E |-----------------------------------------|

E |-------10-13-10-------------13-16-13-------|
B |----12----------12-------15----------15----|
G |-13----------------13-16----------------16-|
D |-------------------------------------------|
A |-------------------------------------------|
E |-------------------------------------------|

E |-------12-15-12-------------15-18-15-------|
B |----14----------14-------17----------17----|
G |-15----------------15-18----------------18-|
D |-------------------------------------------|
A |-------------------------------------------|
E |-------------------------------------------|

E |-------13-16-13----------------------------|
B |----15----------15-------------------------|
G |-16----------------16-13-------------------|
D |-------------------------15----------3-----|
A |----------------------------17-------4-----|
E |-------------------------------------------|

E |-------------------------------------------|
B |-------------------------------------------|
G |-------------------------------------------|
D |-4-----------------------------------------|
A |-4-----------------------------------------|
E |-2-----------------------------------------|

Warm Up.
Ok here is my idea of a warm up program. It's made for practising the technics I most often uses and it may not be adapted to your playing style. But if you are a Yngwie wanna-be or into some speed/sweep/alternate/economy-picking this might be something for you.It's a really good thing to go through a list of warm up exercises before you play fast tricks and/or solos. It improves your playing. If you play something wrong every time you play it, it gets stuck in your head (the muscle memory) and than you will keep playing it wrong. Some of that effect could, of course, be prevented by warming up before you play.

Tip for all tricks. Play through each exercise a couple of times so that you memorise it. Than increase the speed starting from a real slow pace. Always hold a steady beat, a metronome or a drum machine would be of great help. Don't play so fast so that your left and right hand go out of sync. If they do go out of sync, play a little slower for a while and than increase your speed. It's important to remain in sync. If you lose it the tones start ringing less clearly. Memorise the trick before increasing speed. Play them over and over again. Play slow at first and increase the speed gradually. Always hold a steady beat. Remain in sync, The tones should ring clearly.

Warm Up Program.
To Yngwie or not to Yngwie. This my attempt(s) at an Yngwie style ascending run. Lord knows how he does it, I certainly can't (use the force, and alternate picking).

Key - A minor
E |-------------------------------|----------------------------------|
B |-------------------------------|----------------------s-----------|
G |-------------------------------|---------------9-10-12/14~~~~~----|
D |-------------------------7-9-10|-12-10-9-10-12--------------------|
A |-------5-7-8-10-8-7-8-10-------|----------------------------------|
E |-5-7-8-------------------------|----------------------------------|

Key - Chromatic Scale
E |9-------8-------7-------6------|
B |--8-7-6---9-7-6---9-8-6---9-8-7|
G |-------------------------------|
D |-------------------------------|
A |-------------------------------|
E |-------------------------------|

The bottom string should ring clearly until it's picked again! How do you learn how to do chromatic stuff? I have always just played notes at random for that effect, but I get limited results. Any suggestions? Well, the chromatic scale is based on halftones as you already know. So try to just play some halftones in a row! Here are two examples. I made the first example after some inspiration from Paganini. When you have played it all the way down you should play it backwards all the way up.

|-------------------------------|----------------1-2-3-4--------|
|-------------------------------|--------2-3-4-5----------------|
|-------------------------------|2-3-4-5------------------------|
|------------------------3-4-5-6|-------------------------------|
|----------------4-5-6-7--------|-------------------------------|
|--------5-6-7-8----------------|-------------------------------|
|6-7-8-9------------------------|-------------------------------|

I don't realy know who the author of the second example is. But I heard Yngwie Malmsteen plays it every now and then!

|------------------------|----------------------|
|-12-11-10-9----13-12-11-|-12-11-10-9---9-10-11-|
|------------12----------|------------12--------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|
|------------------------|----------------------|

These examples should be played over and over again to increase speed.

Trick 1.
Here's a funny arpeggio idea. It's inspired by Yngwie but it's not Yngwie, it's me. Play it fast but don't let the notes ring into each other. You can tap the very last note (high A) for making it a really cool trick.

A minor
|-12p8---------------------------------------10--------------|
|------10-------------------------------9h12----12p9---------|
|---------9--------------------------10--------------10------|
|-----------10------------------9h12--------------------12p9-|
|--------------12-12~--------11------------------------------|
|------------------------------------------------------------|

A major
|----------------------------------------------9-12-17~------|
|-------------------------------------------10---------------|
|-----------------10-9--------------------9------------------|
|----10-9-12-10-9------12-10-9---------11--------------------|
|-12---------------------------11---12-----------------------|
|------------------------------------------------------------|

Trick 2.
A simple trick, but it can be very difficult playing at fast speed. Yngwie Malmsteen plays it sometimes.

A minor
|-0h5p-0h7p-0h8p-0h10p-0h7p-0h8h10p-0h12-13-12-10-8-12-10-8-7-10-8-7-5-8-7-|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|
|--------------------------------------------------------------------------|

|5-4-5--12p8-----------------------0---------------------------------------|
|------------10---10---------------1---------------------------------------|
|---------------9----9-------------2---------------------------------------|
|----------------------10----10----2---------------------------------------|
|-------------------------12-------0---------------------------------------|
|--------------------------------------------------------------------------|

Trick 3.
This is a Cm arpeggio. Use sweeping technics and play it fast. Yngwie Malmsteen plays it sometimes.

Key - Cm
E |--------5-8p5--------|
B |------6-------6------|
G |--5-8-----------8-5--|
D |---------------------|
A |---------------------|
E |---------------------|

Trick 4.
This is what I use in one of my solos. It utilizes tapping and sweeping, along with speedy legato and acurate picking. This is influenced by Yngwie Malmsteen by use of sweep picking, influenced by Steve Vai by incorporating tapping, sweeping and legato and by John Petrucci by the use of fast picking in parts of this lick. Enjoy and play loud.

Key - A Dorian
E |-----------12-15-20\19-14-12-10|----------------------------------|
B |---------13--------------------|-12-10-8-10-19-10-19-8\7----------|
G |-------14----------------------|-------------------------7--------|
D |-----14------------------------|---------------------------7------|
A |12-15--------------------------|-----------------------------7----|
E |-------------------------------|-------------------------------8-5|

E |-------------------------------|---------0\12--8\12---12-17-29----|
B |---5-7-8-7-5------8-7-5--------|--------1----10-----13------------|
G |--5----------9-7-5-5-5-9-7-5-4-|-------2--------------------------|
D |-7-----------------------------|-5----2---------------------------|
A |-------------------------------|--5--0----------------------------|
E |-------------------------------|---7------------------------------|

Trick 5.
This is very simply an example of an "E Minor" scale with a harmonic twist thrown in at the end. This is used frequently with artists like George Lynch and Yngwie Malmsteen. It sounds best when played very quickly!

Key - E minor
tap
E |----------12-13-15-17^18^17-15-13\12-------------------------------|
B |-12-13-15----------------------------15-13-12-10-------------------|
G |-------------------------------------------------12-10-9-----------|
D |---------------------------------------------------------12-10-9\7-|
A |-------------------------------------------------------------------|
E |-------------------------------------------------------------------|

E |-------------------------------------------------------------------|
B |-------------------------------------------------------------------|
G |-------------------------------------------------------------------|
D |-------------------------------------------------------------------|
A |-10-9-7-6-7~~~~~---------------------------------------------------|
E |-------------------------------------------------------------------|

Trick 6.
Rimsky-Korsakov (Flight Of The Bumble Bee) Chormatamania: Part I. It comes from Rimsky-Korsakov's composition "The Flight Of The Bumble Bee". It was named after the sound you get playing this song on the violin, for which it was written. Playing tips. Start off playing this lick slowly, the slower the better and get your technique down first, then increase the speed each day as you practice it. Pay attention to the left hand fingerings. Read John Lindgren's post on chromatics and do these exercises to help warm up for this lick. After you play these first 4 bars, you then play the same thing over at the 10th fret instead of the 5th fret!

Key - E
left hand
   1 4 3 2 1 2 1 4 1 4 3 2 1 2 3 4   1 4 3 2 1 2 1 4 1 4 3 2 1 2 3 4
E |---------------------------------|-----------------------------------|
B |-5---------6-5---5---------------|-5---------6-5---5-----------------|
G |---8-7-6-5-----8---8-7-6-5-6-7-8-|---8-7-6-5-----8---8-7-6-5-6-7-8---|
D |---------------------------------|-----------------------------------|
A |---------------------------------|-----------------------------------|
E |---------------------------------|-----------------------------------|
Beat: 1 e + a 2 e + a 3 e + a 4 e + a 1 e + a 2 e + a 3 e + a 4 e + a

left hand
   4 3 2 1 4 3 2 1 1 2 3 4 1 2 1 4   4 3 2 1 4 3 2 1 1 2 3 4  1  2  3  4
e |---------------------------------|-------------------------------------|
B |-------------------------5-6-5---|-------------------------------------|
G |-9-8-7-6-7-6-5-4-5-6-7-8-------8-|-9-8-7-6-7-6-5-4-5-6-7-8-10-11-12-13-|
D |---------------------------------|-------------------------------------|
A |---------------------------------|-------------------------------------|
E |---------------------------------|-------------------------------------|

Dime is so great and you can learn some tricks he used in writing and soloing. In this you will learn: Solo tricks, Blues tricks, Heavy riffs.

1. Heavy riffing.
To be able to emulate Dime and even sound like him first you must already have a great knowledge of your guitar. You have gotta be able to get your fingers flying on these riffs. Most people know the blues scale but if you don't here it is, Dime almost always used this or a modifed version of this:

|-5------8-|
|-5------8-|
|-5---7-8--|
|-5---7----|
|-5-6-7----|
|-5------8-|

Now why would we need to know the blues scale for riffing! Because Dime used the blues scale in riffs too.

Cowboys From Hell:
|-----------------------------------------------------|
|-----------------------------------------------------|
|-----------------------------------------------------|
|---------------------------------------------------0-|
|-------------------0----------1--------0h1h2---------|
|0---3---0---3----------3--------3--------------------|

You also gotta be able to hit harmonics on command, for those of you who don't know how to hit pinch harmonics, have your thumb sticking out a tiny bit over the side of the pick so that it hits the string a milli second after the pick.

Revolution Is My Name:
Harm.
|-----------------------------------------------|
|-----------------------------------------------|
|-----------------------------------------------|
|---------------------------------------5-------|
|----------------------------7p5-----------7p5--|
|0-0---0-0---0-0---0-0---------7----------------|

And of course the beginners technique palm muting.

Mouth For War
|---------------------------------------|
|---------------------------------------|
|---------------------------------------|
|-----------4--------------------4-4-4--|
|-0/1/2-2-2-2-2-----0/1/2-2-2-2-2-------|
|---------------------------------------|
PM....................................

2. Solo Tricks
A common trick not jsut used by dime but by Zakk Wylde and Eddie Van Halen is using one lick and just moving it up the fretboard.

Cowboys From Hell Ascending Lick:
|---------------------------------------------------------------------|
|---------------------------------------------------------------------|
|---------------------------------------------------------------------|
|-------------------------------------------------11-12-15---11-12-15-|
|------------------------11-12-15---11-12-15--------------------------|
|-11-12-15---11-12-15-------------------------------------------------|


|-------------------------------------------------11-12-15---11-12-15-|
|------------------------11-12-15---11-12-15--------------------------|
|-11-12-15---11-12-15-------------------------------------------------|
|---------------------------------------------------------------------|
|---------------------------------------------------------------------|
|---------------------------------------------------------------------|

Also you cotta use lots of pinch harmonics as well as natural harmonics for solo's. If you have got a floating bridge you can use this trick. To make the huge squeals that dime does at the end of cemetary gates. You dip the bar as low as it goes then take your thumb and mute the EAD strings and with your pinky mute the BE strings while the bar is dipped hit a natural harmonic by picking the string with your ring finger and barely touching the string with your middle finger and then bring the bar up to the note you want to hit. Another great part of Dime's playing was his bends, if you wanna play like Dime you gotta bend those little strings till they scream.

5 Minutes Alone Solo:
2.0 slowly release. 5
|--19-------------------19-------19-18-17------17---------------|
|------------------------------------------------20-----20--17--|
|---------------------------------------------------------------|
|---------------------------------------------------------------|
|---------------------------------------------------------------|
|---------------------------------------------------------------|

Well you should be well on your way to makin your guitar scream and remember you gotta play all of these riffs with tons of distortion.

Introduction

Joe Satriani along with his most famous pupil Steve Vai have reveloutionised modern rock guitar in much the same way that Hendrix did in the '60s. As a guitar player who has been a keen follower of the instrument for 15 years now it increacingly angers me that these musicians are not given the credit that they diserve. Satriani for example regularly looses to guitarists such as Nirvana frontman Kurt Cobain and Guns N' Roses guitarist Slash. Although the afformentioned names are both acomplished musicians to varying degrees in their own right they are quite simply not in the same musical league as Satch and it is a tragedy that in our modern times such incredible devotion to the mastery of the instrument can go largely unoticed by the general public. It is understandable that artists such as Yingwie Malmsteen or Michael Angelo.

Batio are not more widely recognaised as they are both centered around a very narrow area of guitar technique that only another guitarist could truly appreciate but Satriani is as melodic as he is technical. You only have to listen to tracks such as flying in a blue dream to appreciate that this is a man who is able to compose somthing that is truely musically compelling. The technical secetions in his compositions are expertly crafted using extensive musical theory. The sheer range of styls that he is obviously not just influenced by but is completely at ease with makes listening to his album a pleasure even for someone who knows nothing of guitar playing. The talent that he displays can be accurately compared to that of great classical composers such as Mozart and Beethoven in the sence that he is able to create expression using purely musical instruments and no vocals which is an ability that escapes the vast majority of musicians who are famous in the music scene today.

Practical Analysis (Part 1)

Joe Satriani is proficient in every exotic rock technique that I personally can name. Just because you can't do this and you probably don't know anyone else who can dosen't mean you never will be able to. All it takes is the dedication. In order to analyse his technique it is best to start from the basics. I'm going to assume a basic understanding of guitar terminoligy.

1. Legato

Legato is the latin term for smoothly. In guitar terms it basically means playing with hammerons and pull offs. Joe's legato technique is very fluid. He has achived this level of fluidity through metronome practice of scale shapes. He has also payed close attention to his left hand tecnique. If you observe his left hand especially his 4th finger they will always stay very close to the finger board of the guitar and will prempt the next section thus his fingers are always close to where they need to be therefore he can play faster. If you are to achive this in your playing you will need to slow down drastically. Little finger movement is the bane of many average guitarists technique and is how you can spot a professional. Make sure you put in the hours so you can control all your fingers even if they aren't fretting notes.

If you wish to achive this try learning patterns within scales such as those used in the introduction to Steve Vai and David Lee Roth "Shyboy." If you can play the introduction on that song up to speed then you are proficient with the technique. Once you have mastered that try the run down after the pick tapping on "Surfin' With The Alien."

Tips: for "Shyboy" intro and "SWTA" section metioned above plus futher general exercises.

Practice on - Clean - Listen to mistakes.

Practice to a metronome start with a tempo you can easily manage increace that by 2-5 bpm per day to start with. As it gets faster decreace the increace.

Listen carefully to the fluidity of your legato technique.

Warm up excersise. Make sure you practice every finger combination. A great exercise to test even advandced players get a pen and paper write down every combination of the numbers 123 and 4 1234 1324 1432... Not just starting with 1 either and then practice in leagato in every position from say fret 2 to 12 on every string as many of these shapes as you can (using a metronome). The cromatic patterns they create on the fretboard are a lot trickier than they look!

Practice through this section daily and find more pieces that rely heavily on legato try playing Yingwie Malmsteen "Blitzkrieg" with legato.

2. Advanced Whammy Techniques

Joe satriani uses his floyd rose for extreme pitch changes harmonic whales flicks and vibrato. He uses these to great effect in a large number of his compositions. Extreme pitch variations can be found in many of the songs on the surfin with the alien album flicks can be found on the song surfin with the alien and floyd rose vibrato on many of his compositions.

In order to master any floyd rose technique you must first have the equiptment. A high quality double locking tremlo system that is well set up is essential. Hold your arm corectly. Wrap fingers 3 and 4 gently around the arm. Flicks can be achived with just the little finger by sharply and rapidly depressing the whammy bar just prior to the note that you want to play and then releasing on the note. Vibrato with a floyd rose is best achived with small circular movements not simply an up and down movement.

Tips:

Play a note then try and hit that note from another much higher or lower using your whamy bar. Or better still get a recording of notes playing and hit them with your whammy bar.

Practice widening and tightening the vibrato around a note using your whammy bar.

Practice hitting natural harmonics and then bending them to different pitches in time to a metronome.

The whammy bar can be used to effectively manipulate feedback.

3. Advanced Tapping Techniques

Joe's tapping techniques are far above average. Althogh some acousitc artists have taken these techniques to the extreme Joe has much to teach us about advanced tapping. The first case study is in "Mystical Potato Head Groove Thing." Try learning the section in the 'verse' (1:35). The proper technique to do this is to use your right hand to deaden the strings at about the 4th fret making sure not to hit any natural harmonics and then use your legato to play the arpeggio. Start it very slowly it is very difficult indeed (50 bpm).

An example of another advanced tapping technique utilised by joe satriani can be found in the song "Midnight." In this song he uses multiple fingers on the right and left hand to play arpeggios and extended chords. This technique is a hell of a party trick and I would strongly advise learning this song as it is a great introduction to multi-fingered tapping.

Tips:

Start slowly and practice small movements with both hands you want your taps to be smooth.

For you beginners out there don't press to hard on the fretboard it's the impact speed that matters not the stength you depress the fret.

Try tapping and fretting as close to the fret wire of the fret above as possible your sound will be more pronounced that way.

Summary

This is the end of part 1 of Joe Satriani. Please comment this article with sugestions for part two or tell me that part one was so bad that I shouldn't write a part two etc. Content will definately include a theoretical analysis of his work and some more techniques.

Im assuming tht you know scale theories..if not then i'll publish a different post for tht...

To begin with i wud start with David Gilmour Guitar Methods...

Dave Gilmour was the replacement for Syd Barrett in 1968, Gilmour made his mark on Floyd from day one, but non more noticeable than one echoes. The following success made Gilmour a legend with his beautiful guitar licks.

Gilmour's main stage guitar is a USA '57 Vintage Reissue Strat fitted with EMG-SA pickups. He has also installed the EMG-EXG expander & SPC midrange presence controls. Apart from the electrics, the only other custom feature is a shortened tremolo arm so that he can keep it in his picking hand more comfortably while playing. But back in '1970s he Used a strat that was mostly likely from 1969 era, as the guitar didn't have the Bullet truss rod. The Fender 1969 Stratocaster that he used, has been used on all recordings up to Momentary lapse of reason when he changed to his USA '57 re-issue strat. Other guitars used live are an Esquire Telecaster in dropped D tuning for Run Like Hell, The following are the pedals Gilmour uses. Most of the pedals are unavailble now, however most can be found on eBay. Other Pedals are Specially made for Gilmour, so you may have to look for other brands that come close to that. Gilmour famously said though you can get close to his sound by using a simple range of boss pedals. Gilmour uses hi-watt amps into Marshall cabs and custom hi-watts cabs.

A - Boss CS-2 Compression/Sustainer.
B - Pro Co. Rat II Distortion.
C - Cornish Big Muff.
D - Boss GE-7 Graphic Equalizer.
E - Cornish Soft Sustain.
F - Sovtek Big Muff II.
G - Chandler Tube Driver #2.
H - MXR Dynacomp Compressor.
I - Ibanez CP-9 Compressor.
J - Boss Metalizer.
K - Chandler Tube Driver #1.
L - Boss GE-7 Graphic Equalizer. HIGH
M - Boss GE-7 Graphic Equalizer. BASS
N - Boss GE-7 Graphic Equalizer. MID

Lick 1.
This lick is simmiliar to Wish You Were Here, however its in a diffrent key:

e |-5/7-----7\5-------------------------------------|
B |-5/7-----7\5-----5/7--7\5--------5/7--7\5--------|
G |-------------------4/6--6\4---2---4/6--6\4---2-2-|
D |-------------------------------------------------|
A |-------------------------------------------------|
E |-------------------------------------------------|

Lick 2.
This is a typical Gilmour lick, this can be seen from Dark Side Of The Moon straight to The Division Bell:

e |--------------5------------------|
B |-----------5----7p5--------------|
G |--7b(9)--------------7p5---------|
D |------------------------------7--|
A |---------------------------------|
E |---------------------------------|

Lick 3
It is from the Experimental Days, think atom heart mother and echoes:

e |-----------------------------------------------|
B |--14-13----------14-13-------------------------|
G |---------13--------------13--------------------|
D |------------13--------------13--11-10----------|
A |-------------------------------------------11--|
E |-----------------------------------------------|

Lick 4.
This is another typical Gilmour blues lick:

e |--------------7---9p7-------------|
B |-----------7-------------9p7------|
G |--9b(11)---------------------9-7--|
D |----------------------------------|
A |----------------------------------|
E |----------------------------------|

Lick 5.
This lick can be seen through out The Wall:

e|--------------7----------------------------|
B|-----------7-----9p7---7------7-----7/9-7--|
G|--9b(11)-------------9-7------7-----7/9-7--|
D|----------------------------9-9---9-9------|
A|-------------------------------------------|
E|-------------------------------------------|

Lick 6.
This Lick can be seen on Echoes, using a D shape chord:

e|-----14---------------16------------16/14--|
B|--------15---------------17----------------|
G|--14-------14--14/16-------16---16/14------|
D|-------------------------------------------|
A|-------------------------------------------|
E|-------------------------------------------|

Lick 7.
This lick is a simmiliar to In The Flesh, and a normal blues run:

e|--------12--------12--------12------------------------------|
B|--------12--------12--------12------------------------------|
G|14b(16)---14b(16)---14b(16)----14p12------------------------|
D|-------------------------------------14p12---------------14~|
A|-------------------------------------------14-13-12---------|
E|----------------------------------------------------15-14---|

Lick 8.
This is seen in In The Flesh from The Wall, the lick is also seen in Learning To Fly:

e|--------0----------0----------------------------------------|
b|----------3-----------3-------------------------------------|
g|-2b(4)-------2b(4)--------2B(4)-2-0-------------------------|
d|--------------------------------------2-0-------------------|
a|-------------------------------------------2-1-0---------2~-|
E|---------------------------------------------------3-2------|

Lick 9.
Is also seen in In The Flesh, it's a typical rock lick:

e|-12~--------------------------------------|
b|-----12~--15b(17)--15b(17)r15-12-15b(17)--|
g|------------------------------------------|
d|------------------------------------------|
a|------------------------------------------|
E|------------------------------------------|

Lick 10.
This lick is a run up the neck, used by gilmour on High Hopes:

e|-----------------------------------|
B|-----------------------------------|
G|-----------------------------------|
D|-2----2/4-4----4/5-5----5/-9--9--7-|
A|-----------------------------------|
E|-----------------------------------|

lick 11.
This lick is in the style of Floyd from Post Waters:

e|--13p10----10-----------------------|
B|------------------13------13b15r13--|
G|------------------------------------|
D|------------------------------------|
A|------------------------------------|
E|------------------------------------|

Lick 12.
This lick is taken from The Wall, it's very dark and a good emotional mood setter:

e|-----15-17-17p15-17-17b(19)---------------|
B|--17------------------------17-17-15--17--|
G|------------------------------------------|
D|------------------------------------------|
A|------------------------------------------|
E|------------------------------------------|

Lick 13.
Shows how unison bend can add impact and emotion, this was take from Pigs:

e|-12---12---12----12---12-------14----14---14----14---14--|
B|-15b-15b--15b--15b-15b-----16b---16b-16b--16b--16b-------|
G|---------------------------------------------------------|
D|---------------------------------------------------------|
A|---------------------------------------------------------|
E|---------------------------------------------------------|

Lick 14.
Was used in Mother from The Wall:

e|--10p9-10p9----------------------|
B|---------------10----------------|
G|--------------------9-7-6--------|
D|------------------------------7--|
A|---------------------------------|
E|---------------------------------|

Lick 15.
This lick is take from the solo of Have A Cigar:

e|---------------------------------------------------------------|
B|------------12-----17P12-15P12---------------------------------|
G|-14B(16)---------------------------14B(16)-----14-----12B(14)--|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
E|---------------------------------------------------------------|

Your growth as a guitarist...

As the time goes by in the life of a player, there are two kinds of growth we can experience. Both are necessary for our development as musicians and guitarists. I call them vertical, and Horizontal Growth.The slope of this graph when plotted must be 1 ideally.

Many a times i have often encountered people,who have played for years...And when i ask them to play something you are comfortable with..they start strumming and singing may be play a few small interludes here and there...I classify these people as horizontally grown people...

And sometimes i encounter people who play fast solos like hell tht include difficult shaped sweeped arpeggios etc..but when i ask them to play covers they fail to play...These are vertically grown people...

In a guitarists life,Vertical growth is the most difficult part...I have observed tht people often get frustrated while learning these...But if overcomed its enjoyable...

From my experience as a player and as a teacher, it is extremely difficult to create Vertical Growth, once bad, or insufficient practice has locked in tension and bad habits. The good news is, it is not impossible. In fact, the word difficult is not the best word. I use it only because we have such a tendency to under estimate the intensity of concentration it takes to undo past damage. A better word is challenging. And if you want to keep getting better and better as a guitarist, you'd better learn to love challenges...

The quality of vertical determines the quality of horizontal growth...

It is important to realize that the quality of our Vertical Growth determines the quality of our Horizontal Growth. Any ability we have gained as players has been our Vertical Growth. If our Vertical Growth has been shaky, with weaknesses built in, (which was true of myself, and I think, most players), that shakiness will be in everything we play, so our Horizontal Growth doesn't do us much good, it just keeps us busy, feeling like we are making progress because we are learning a new song or piece. This is why so many teachers turn the page and assign new material to a student, even though the student can't play the material from this week. The teacher doesn't really know how to create Vertical Growth, and so is trying to keep a feeling of movement going. Most students, if they are paying attention, will catch on to this.

If Vertical Growth is strong, than all new material learned will be strong, and will help you grow as a musician, as you absorb new music, and are able to play it well. This is the kind of Horizontal Growth we want.

Every Vertical growth must be accompanied by horizontal growth...It not only makes learning enjoyable but also teaches you to make scores,compose new songs...

Thus the graph between horizontal and vertical growth must be and x=y line i.e equal amount to both the growths and equi-levelled growths

thanks for reading