Laiho Alexi Method 2

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
In Your Face Guitar
Table of Contents
About the Instructor ......................................................................................................................... 5
6
Introduction .......................................................................................................................................
Icon Key ..........................................................................................................................................
7
Reading Tablature ............................................................................................................................ 8
9
Tuning ................................................................................................................................................
DVD 1
Chapter 1: Scale Patterns & Sequences
C Major Scale Sequences ...............................................................................................................11
12
E Minor Scale Pattern #1 ..................................................................................................................
12
E Minor Scale Pattern #2 ...............................................................................................................
E Minor Scale Pattern #3 ..................................................................................................................
13
Full Scale Run #1 - “In Your Face” ................................................................................................... 14
Full Scale Run #2 - “Bodom Beach Terror” ...................................................................................... 15
Pentatonic Scale Sequences .......................................................................................................... 16
Combining Pentatonic Scale Patterns .............................................................................................. 17
Chapter 2: Arpeggios
Three String Arpeggios ......................................................................................................................
19
20
String Skipping Arpeggios ................................................................................................................
Sweep Tap Six String Arpeggios ....................................................................................................... 20
String Skipping - Diminished Arpeggio ............................................................................................. 21
D Major String Skip & Tap Arpeggio ................................................................................................. 21
Arpeggio Combining Techniques ...................................................................................................... 21
Five String Arpeggio Pattern ..........................................................................................................22
Chapter 3: Writing a Harmony Guitar Section

Verse Harmony Section - “Blooddrunk” ..........................................................................................24
25
Harmony Section - “Follow the Reaper” ..........................................................................................
Pivoting Harmony Section - “Smile Pretty for the Devil” ................................................................... 25
Chapter 4: Warm Up Exercises

Pivoting Exercise .............................................................................................................................
28
Pivoting Exercise #2 ........................................................................................................................
28
Classical Exercise .........................................................................................................................29
Classical Bach Exercise .................................................................................................................. 29
Chapter 5: Writing a Lead

Writing a Lead - “Blooddrunk” Solo ...................................................................................................
32
Lead Technique - Tapping Sequence .............................................................................................38
Complete Lead - “Everytime I Die” ....................................................................................................
39
3
In Your Face Guitar
Chapter 6: Infusing Other Styles Into Metal

Funk Techniques for Metal Guitar .....................................................................................................
42
Blues Techniques for Metal Guitar ..................................................................................................
43
DVD 2
Chapter 7: Bending
The Scream Bend ............................................................................................................................ 46
The Over Bend ................................................................................................................................
46
Intro a Riff with a Bend ......................................................................................................................
47
The Semitone Bend ......................................................................................................................... 47
Double Stop with the Whammy Bar ................................................................................................. 48
Bend and Tap ..................................................................................................................................
48
Bending as a Rhythm Technique - “Living Dead Beat” .................................................................... 48
Chapter 8: Crazy Guitar Sounds

Pick Scrapes ..................................................................................................................................50
Rake Harmonics - “Six Pounder” ...................................................................................................... 50
Chapter 9: Syncopations
52
Syncopated Rhythm - “Roadkill Morning” ..........................................................................................
53
Syncopated Rhythm - “Needled 24/7” .............................................................................................
Syncopated Rhythm - “Lobodomy” .................................................................................................54
Chapter 10: Songwriting Dynamics

Dynamics - Playing Aggressive - “In Your Face” ............................................................................56
Dynamics - All Down Strums - “Punch Me I Bleed” ..........................................................................56
Chapter 11: Playing Slow

Playing Slow - “Punch Me I Bleed” ..................................................................................................
58
Chapter 12: Full Songs

60
“Blooddrunk” ....................................................................................................................................
“Tie My Rope” ...................................................................................................................................
63
“Hatecrew Deathroll” .........................................................................................................................67
How To Get Your Next Rock House Product .................................................................................. 73

The Rock House Catalog ...............................................................................................................74
4
In Your Face Guitar
About the Instructor
Alexi Laiho
Alexi is the founding member and lead guitarist of the Metal band “CHILDREN OF BODOM,” he
has his own Signature Model ESP guitar, 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.
Originating from the town of Espoo, in Finland, Alexi began his musical training at an early age
by learning the Violin. However, influenced by the music his sister listened to (heavy metal mu-
sic) bands such as W.A.S.P., Poison and Stone; he ended up dropping the classical instrument
at the age of 11, in favor of guitars. 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 be-
come a guitarist. He then began taking lessons at the Finnish Pop & Jazz Conservatory in order
to study the instrument. At the conservatory he also studied the pianos. 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). His vocal influences came mostly from
Phil Anselmo of Pantera and Mille Petrozza of Kreator.
He has dedicated his life to creating music and developing his technique. Alexi is known for his
incredible six string momentum and melodic speed along with stern vocal strength.
5
In Your Face Guitar
Introduction
Welcome to The Rock House Method® system of learning. You are joining millions of aspir-
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music. Unlike conventional learning programs, 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. The products can be used individually or
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with a live instructor for visual reference.
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6
In Your Face Guitar
Icon Key
Throughout this book, you’ll periodically notice the icons listed below. They indicate when there
are additional learning tools available on our support web site for the section you’re working on.
When you see an icon in the book, visit the member section of RockHouseMethod.com for musi-
cal Backing Tracks, Additional Information and learning utilities.
Backing Tracks
Many of the exercises in this book are intended to be played along with bass and
drum rhythm tracks. This icon indicates that there is a backing track available for
download on the Lesson Support site or click here.
Additional Information
The question mark icon indicates there is more information for that section avail-
able, it can be theory, more playing examples or tips on the Lesson Support site
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Metronome icons are placed next to the examples that we recommend you prac-
tice using a metronome. You can download a free, adjustable metronome on the
Lesson Support site or click here.
Tuner
Also found on the web site is a free online tuner that you can use to help tune
your instrument. You can download the free online tuner on the Lesson Support
site or click here.
7
In Your Face Guitar
Reading Tablature
Tablature (or tab) is a number system for reading notes on the neck of a guitar. It does not re-
quire you to have knowledge of standard music notation. This system was designed specifically
for the guitar. Most music for guitar is available in tab. Tablature is a crucial and essential part of
playing guitar.
The six lines of the tablature staff represent each of the six strings. The top line is the thinnest
(highest pitched) string. The bottom line is the thickest (lowest pitched) string. The lines in be-
tween are the 2nd through 5th strings. The numbers placed directly on these lines show you the
fret number to play the note. At the bottom, underneath the staff, is a series of numbers. These
numbers show you which left hand fingers you should use to fret the notes.
first string fret number

(thinnest)
sixth string
(thickest)
left hand
fingering
8
In Your Face Guitar
DVD 1 Tuning
Dropped
Alexi Laiho uses two different tunings “C” Tuning
in his music. One tuning he uses is “D” tuning and the
other is Drop “C” tuning. Below are the tuning
Dropped notes for each, notice that the only difference
“C” Tuning
= D = C you will see an icon for the tuning
between the two is the note on the 6th string. On each page
=
=D
used in the example. The icons for each are =
=C
Ashown below.
G If you do not have a tuner, go to the
Lesson Support site at RockHouseMethod.com= A to download
=F = G one for free.
=C
=F =C
“D” Tuning
“D”
= DTuning= C
=
=DA =
=CG
=
=AF =
=GD
=F =D
Dropped “C” Tuning

Dropped
(thinnest string) = D “C” Tuning
=C
(thinnest string) =
=AD =
=CG
=
=FA =
=GC (thickest string)
=F = C (thickest string)
“D” Tuning
(thinnest string) “D”
= DTuning= C
(thinnest string) =
=DA =
=CG
=
=AF =
=GD (thickest string)
=F = D (thickest string)
9
In Your Face Guitar
Chapter One
Scale Patterns
&
Sequences
In Your Face Guitar
C Major Scale Sequences

Pattern 1
12 15 17 19 21 24
C Major Scale Pattern

17
17 19 17 21 19 21
17 19 17 20 19 20
20 19 20
19 20
18 20 18 22 20 22

19 17 21 19 21
Pattern 2
3 5 7 9 12 15 17
10 12 13
10 12 13 10 12 13

9 10 12 9 10 12
9 10 12 9 10 12
8 10 12 8 10 12
8 10 12
13 12 10
13 12 10 13 12 10

12 10 9 12 10 9
12 10 9 12 10 9
12 10 8 12 10 8
12 10 8
11
In Your Face Guitar
E Minor Scale Pattern #1
3 5 7 9 12 15 17
12 14 15 14 12
15 13 12 10 12 13 12 10

12 11 9 7 9 11 9 7
10 9 7 5 7 9 7 5
9 7 5 7
3 5 7 9 12 15 17
1412151412
151312 1312151312

141211 1211141211
141210 10 91210 9
1210 9 1210141210
141210 12
12
In Your Face Guitar
3 5 7 9 12 15 17
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 10 12
Combining Patterns
15 12 14 15 14 12
15 13 12 13 15 13 12

14 12 11 12 14 12 11

 12 10 14 12 10 12 14 12 10
14 12 10 12 14 12 10 12 10
14 10 12
13
In Your Face Guitar
E Minor Scale Pattern #3 - 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 10 12
E Minor Scale Pattern #3 - Triplets

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 10 12
Full Scale Run #1

“In Your Face”
13 10 12 13 12 10 10
13 11 13 11 10 11 8 10 11 10 8 8

10 9 10 9 7

10 7 9 10 9 7 7
10 8 10 8 7 8 5 7 8 7 5 5
8 7 8 7 5
14
In Your Face Guitar
Full Scale Run #2

“Bodom Beach Terror”
Basic Lick
 
17 19 20 17 19 17
  
20 19 20 17 19 20
 
17 19 20 17 19 17
  
20 19 20 17 19 20
17 19 20 17 19 17 14 15 17 14 15 14
20 19 20 17 19 20 17 15 17 13 15 17

Descending Neck Run in “Em”
17 19 20 17 19 17 14 15 17 14 15 14
20 19 20 17 19 20 17 15 17 13 15 17

10 12 14 10 12 10 7 8 10 7 8 8
13 12 13 10 12 13 10 8 10 7 8 10

10 12 14 10 12 10 7 8 10 7 8 8
13 12 13 10 12 13 10 8 10 7 8 10
 
3 5 7 3 5 3
7 5 7 3 5 7 5
 
3 5 7 3 5 3
7 5 7 3 5 7 5
15
In Your Face Guitar
Pentatonic Scale Sequences
The first two sequences will be played using the minor pentatonic scale diagrammed below.
3 5 7 9 12 15 17

Sequence
Pattern 1 #1 Descending

P.M.
15 12
15 12 15 12

14 12 14 12 14 12
14 12 14 12 14 12
14 12 14 12
15 12
Sequence
Pattern 2 #2 Descending 1 1/2
15 12 12 12 17 15
15 15 12 15 12 12 12 14 12 14

14 14 14
12 12 14
14 12 12 12 12 14
12 14 12 14 11 14 14 14 12 14 12 12
12 14 13 14 14 14 12 14 12
12 15 15 14 12
Sequence
Pattern 3 #3 Ascending
H
In the17following
15 12 sequence
15 12 Alexi12uses the same root position minor pentatonic scale, however;
hePattern
adds 1a few extra notes
17 into
15 the pattern
17 15 12for more12
tonal color. Note the added b5 and major 6th

17

17 15 17 15 14 12 14
fret.14 12 13 14

degrees within the scale as well as a 4th added on the 1st string 17th
14
P.M.
15 12 x
15 12 15 12 6

14 12 14 12 14 12 6
14 12 14 12 b5 14 12
14 12 14 12
3 5 7 9 12 15 15 12
17
Pattern 2 1 1/2
12 17 15
12 14 12 14

12 14 12 14 12 14
12 14 12 14 11 14
12 14 13 14
12 15
Pattern 3 16
H

14 12 14 12 14 12
14 12 14 12 14 12
14 12 14 12
In Your Face Guitar

15 12
Pattern 2 1 1/2
Combining Pentatonic Scale Patterns

12 17 15
12 14 12 14

12 14 12 14 12 14
12 14 12 14 11 14
12 14 13 14
12 15
Pattern #1
Pattern 3
H
17 15 12 15 12 12
17 17 15 17 15 12 12

17 15 17 15 14 12 14 12 13
14 14 14
Pattern #2 Two String Sequence

5th pos. 2nd pos. 4th pos.
3 5 7 9 12 15 17
1st pos. 3rd pos. 5th pos.
Repeat All 4x with P.M.
     
5 3 5 3 8 5 8 5 10 8 10 8
      
5 3 8 5 10 8
     
12 10 12 10 15 12 15 12 17 15 17 15
      
13 10 15 13 17 15
17
In Your Face Guitar
Chapter Two
Arpeggios
In Your Face Guitar
Three String Arpeggios
E Minor
19 15
17

19 15 16
19 15 17

17 16

16
19 15
G Major
22 19 17

20 16

22 19 19
22 19 20

20 19

19
22 19
20 17 20

F# Diminished 19 19

20 17 20
20 17 19

19 20

20
H P H P H P H P
20 17
H P 19
H P sl. H P H P
 15 19 15 17 16 17
15 H 19 P15 15 H 19 P20
15 19 22 P 19 19H 22 P 19
17 17 17 17
sl. H 20 20 20 20
 15 19 Progression
15 19 15 16 sl. 19 22 19 19 19 22 19 19
Arpeggio 15 15 19 15 17 17 19 22 19 20 20 19 22 19 20 20

17 16 17 17 16 17 20 19 20 20 19 20
 H P
H P 16 H P 16 H P 19 H P 19

H P sl. H P

15 19 15 15 19 15 19 22 19 19 22 19
H P 17 17 H P 17 17 H 20P 20 20 20
 
17 H 20 P 17 16 17 H 20 P 17 16 15 H 19 P 15
19 15 19
19 19 19 19 17 17

17 20 17 20 17 20 17 20 15 19 15 16 15
17 20 17 19 19 17 20 17 19 19 15 19 15 17 17 15

19 20 19 19 20 19 17 16 17
 
H P 20 H P 20 H P 16
17 20 17 17 20 17 15 19 15 15
19 19 19 19 17 17

20 20 16
19
In Your Face Guitar
String Skipping Arpeggios
Em Amaj
P P H P P H
15 12 12
14 10 10

16 12 12 16
14 14 11 11 14
12
Dmaj F#dim
P P H P P H
14 10 10 14 11 11

14 11 11 14 14 11 11 14
12 13
Sweep Tap Six String Arpeggios

Em C
H H TP P H H TP P
15 19 24 19 15 12 15 20 15 12
17 17 13 13

16 16 12 12
17 14
19 15
15 19 12 15
D F#Dim
H H TP P H H TP P
14 17 22 17 14 14 17 23 17 14
15 15 16 16

14 14 14 17 17
16 16
17 15 18
14 17
20
In Your Face Guitar
String Skipping
Diminished Arpeggio
sl. sl. sl. sl. sl. sl.
1916 19 1512 14 1815 18 12 9 12 1512 15 9 6 8 12 9 6 3

1916 1512 1815 12 9 15 12 9 6 12 9 6 3 0
D Major String Skip

& Tap Arpeggio
P P H H sl. P P T P PT P P
14 10 10 10 14 17 14 14 17 22 17 22 17 14
15 15 15

11 14 14 11 11 14 14
12
Arpeggio Combining Techniques
P P H H sl. P H sl. P P full
15 12 12 12 15 19 15 15 19 22 19 19 22 22 22
17 17 20 20

16 16 12 12 16 16 19
14
21
In Your Face Guitar
Five String Arpeggio Pattern
Em Bbº
P P H P P P H P
19 15 15 19 15 18 15 18 15
17 17 17 17 17 17

16 16 16 18 15 15 18 18
17 17 17 17
19 14 19 19
Em C G E
P P H P P sl. sl. P
19 15 15 19 15 15 12 7 10 17 14
17 17 17 13 8 15

16 16 16 12 7 14
17 17 14 9
19 14 19 15 10
22
In Your Face Guitar
Chapter Three
Writing A Harmony
Guitar Section
=D =C
=A =G
=F =C
“D” Tuning
In Your Face Guitar
=D =C
Verse Harmony Section

=A =G
=F =D

(thinnest string) =D
=A
=C
=G
“Blooddrunk”
  
Guitar 1
“D” Tuning
(thinnest string) =P.M.
D =C P.M. P.M.
=A =G

7 10 7
7 7 6
3 0 4 8 5 6 2 0 3 4 0 3
0 0 0 0 3 0 4 0 0 0 0 0 0 2 0 3 0 0 0 0 0 4 0 3
P.M. 
 8 5
7
6 2 0 3 0 6 0
8
6
8
6
8
6
0 0 0 0 0 0 2 0 3 0 6 0
 
Guitar 2 - Harmony
P.M. P.M.
10 9

7 10 9 8
7 6
3 0 4 5 2 0 3
0 0 0 0 3 0 4 0 0 0 0 0 0 2 0 3 0
P.M.  P.M. 

7
7 6 8 8 8
4 0 3 5 2 0 3 0 6 0 6 6 6
0 0 0 0 4 0 3 0 0 0 0 0 0 2 0 3 0 6 0
24
In Your Face Guitar
Harmony Section
“Follow the Reaper”
Chorus Melody
 
10 10
12 12 10 8 10 12 10 12 10 12 10 8 10
Harmony Line

7 10 10 10
5 5 5 7 7 8 8 8 7 7 7
Pivoting Harmony Section

“Smile Pretty for the Devil”
Melody
3x
 
  
5 7 9 9 7 7 7 9 7
7 5 5 5 5 5 5

5 7 7 7 9 9 9 10 9
7 7 8 10 10 10 10
3x
 
  
10 12 14 14 12 12 12 14 12
12 10 10 10 10 10 10
25
In Your Face Guitar

5 7 7 7 9 9 9 10 9
7 7 8 10 10 10 10
3x
 
  
10 12 14 14 12 12 12 14 12
12 10 10 10 10 10 10

10 12 14 14 16 16 16 17 16
12 12 15 17 17 17 17
Harmony
3x
 
  
9 12 12 12 12 12 12
7 9 10 10 9 9 9 10 9

9 12 10 12 12 14 12
7 9 8 8 10 10 10 10 10
3x
 
  12 
14 17 17 17 17 17 17
14 15 15 14 14 14 15 14


14 17 17 19 19 21 19
12 14 15 15 17 17 17 17
26
In Your Face Guitar
Chapter Four
Warm Up Exercises
27
In Your Face Guitar
Pivoting Exercise
Basic Pattern Variation Moving Across the Neck sl.
1013121310131213101312 1310131213 10131213 7 10 8 10 8 1210 12 5 8 7 8 7 10 8 10 4 7 5 7 5
Pivoting Exercise #2

10 12 14 15 14 15 12 15 10 15 15 15
14 12 11 12 12 11 12 12 11 12 12 11 12 14 12 11
COBHC
28
In Your Face Guitar
Classical Exercise
sl.
   11 
7 10 9 10 7 7 10 12 9 10 14 12 9 14 17 12 9
8 8 8 10 12 10 15 10

7 7 9 9 14 9
P P sl. P P
sl.
10 7 7 7 4 4 7 12 9 9 9 6 6 7
8 8 5 5 10 10 7 7

7 4 9 6
Classical Bach Exercise
3 5 6 6 5 3
5 3 5 6 2 6 5 6

7 6
5 7 8 8 7 5 7 5
5 7 8 4 8 7 8
sl.
 
A.H.
full
3 5 5 3 1 3 3 1
3 5 6 6 5 3 5 1 3 5 5 3 2 3 5 6 3 5 6 2 3 5 2 3 5

3 2 0 X 3
3
H P 
1 1 1 1 3 1 1

2 0 3 2 0 0 0 2 0 0 3 2 0 0 2 3 2 0
3 2 3 3 3 3 2 0 2 4 3
29

sl.
 
A.H.
full
In Your Face Guitar

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

Writing a Lead
“Blooddrunk” Solo
=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
tions that =work
= D C best each time to build a great lead. I have included the Blooddrunk rhythm so
=A =G
you =can
F see
=D the chord changes that corresponnd with the lead. The rhythm is played in drop C
tuning but Alexi uses D tuning to play the lead.
(thinnest string) =D =C

=A =G
2 2 2
4 2 0 4 2 5 4 2 5 4 0 2 2 2
4 0 0 4 0 5 4 0 5 4 0 2 2 2
4 0 4 5 4 5 4 0 2 2 2
Ex. 2 “D” Tuning
=A =G
=F = D (thickest
E string)
F# G F# G A A B C
B C D D E E F# G
G A A B C B C D
D E F# E F# G F# G A
A B C B C D D E
E F# G F# G A A B C

12 15 15 17 17 19
  
 First            
First Position Second Position Third Position
 Position   

      12 14 15

12 13 15

12 14
12 14 16
12 14 15 12 14 15 14 15 17 17 19 20

12 14 15 12 13 15 15 17 17 19 20
1214 14 16 17 16 17 19
121416 141617 161719
121415 141517 1719
121415 141517 171920
Second Position
14 15 17
15 17

14 16 17
14 16 17
14 15 17
14 15 17
Third Position
17 19 20
17 19 20

16 17 19
16 17 19
17 19
17 19 20
32
In Your Face Guitar
Writing a Lead
“Blooddrunk” Solo
Solo 1
full full full P 1/2 1/2
P H T P H 1/2 T P H 1/2 T P H 1/2
17 17 17 17 (17) 14 17 19 14 17 19 14 17 19 14 17

16 16 16 16 14
T P H T P H 1/2 T P H 1/2 1/2
17 21 17 21 17 15 19 15 15
21 14 17 19 14 17 19 14 17 17 14 14 17 15 15

16
sl.
1/2 1/2 1/2 1/2 P.M.
14 16 17 14 16 17 16 14
17 (17) 17 (17) 17 14 15 17 15 14

16 13 14 16 14 13
16 12 14 16 14 12
16
Tremolo Picked
P.M.
 12 14 16 14 11 14 12 14 16 12 14 17 14 16 17 14 16 17 19 16
P.M. 
17
17 19 21

16 18 19 16 18 19
16 18 19 16 18 19 16 18 19
17 19
w/bar 
1/2 1/2
P 1/2 1/2
P 1/2 1/2
P
33
19 17 19 19 (19) 17 19 (19) 17 19 (19) 17
P.M. 
17
In Your Face Guitar

17 19 21

16 18 19 16 18 19
16 18 19 16 18 19 16 18 19
17 19
w/bar 
1/2 1/2
P 1/2 1/2
P 1/2 1/2
P
19 17 19 19 (19) 17 19 (19) 17 19 (19) 17
17 17 15 17 17
Solo 2 w/bar 
1/2 1/2 full full full
5 7 8 10 13
w/bar  rake 
1/2 H full
17 15 15
12 0 14 17 17 17 17 17 17 17 15 15

X
X
1/2 1/2
H P
14
17 (17) 14 17 14 14 17 14 17

16 14 14 16
14 15 14 16 15
16 15 16
sl. sl.
17 17 14 17 21 17 21 17 17
19 19

18 14 18
TH P H TH P H TP 1 1/2
21 24 21 17 17 21 24 21 17 17 21 24 21
19 19 19 19

18 18
34

In Your Face Guitar
H 
21 20 19 17 19 17 17 19 17 17 19 17 19
19 17
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 
full T P P
19 22 21 17 16 17 16 14 21 17 15 19 15
17 17 17 15 15 15


 
hold bend
w/bar
1/2 P sl. P.H.
0
15 2

14 14 16 (16) 14 16 4
14 16
14 14 16
P.H.  sl.
3 2 5 5

5 4 2 5 4 2 2 4 2 4 6 4 4
4 2 4 2
35
full T P P
In Your Face Guitar

19 22 21 17 16 17 16 14 21 17 15 19 15
17 17 17 15 15 15


 
hold bend
w/bar
1/2 P sl. P.H.
0
15 2

14 14 16 (16) 14 16 4
14 16
14 14 16
P.H.  sl.
3 2 5 5

5 4 2 5 4 2 2 4 2 4 6 4 4
4 2 4 2


w/bar
sl.
P A.H.
5 7 9 7 5 0
7 7 7
 3
Solo 4
w/bar  H 1/2 1/2 1/2 1/2

14 17 17 17 17
14 16 16 14 16 16 16 14 16 16 14
14 16 14 X
full full H P TP H full T P H full TP H full TP H full
17 17 14 17 14 19 14 17 17 19 14 17 17 19 14 17 17 19 14 17 17 14 17
14 16 17 14 16 17

14 16 17 14 16 17
14 15 16 14 15 16
14 15 16 14 15 16 36

In Your Face Guitar
14 16 17 14 16 17

14 16 17 14 16 17
14 15 16 14 15 16
14 15 16 14 15 16
P P P P T P H full
1/2
14 14 17 14 17 14 19 14 17 17 (17)
17 14 17 14 14 14
17 14 17 14 14 14 17 21 17 16 19 17 19
17 14 14 14

21 18 21
w/bar  1/2 P
21 19 17 17 19 19 19 17 19
19
Lick 1
T P H T P 1/2 T P H T P 1/2 T P H T P 1/2 T P H T P 1/2
19 14 17 19 17 19 14 17 19 17 19 14 17 19 17 19 14 17 19 17
Lick 2
14 16 17 14 16 17

14 16 17 14 16 17
14 15 16 14 15 16
14 15 16 14 15 16
37Lick 3
21 17 17 19 15 15
In Your Face Guitar
14 16 17 14 16 17

14 16 17 14 16 17
14 15 16 14 15 16
14 15 16 14 15 16
Lick 3
21 17 17 19 15 15

21 18 18 19 16 19
Lead Technique
Tapping Sequence
Lick 1 H H H H T P T P P P T P T P P P
15 17 19 20 19 20 19 17 15
15 17 19 20 19 20 19 17 15
T P TP P P T P TP P P T P TP P P T P TP 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
Lick 2
T P H T P H T P H T P H T P H T P H T P H T P H

19 12 14 16 12 15
19 12 14 17 12 14
19 12 14 17 12 14
19 12 15 17 12 15

T P H T P H T P H T P H full
19 12 15 17 12 15 22
20 12 15 17 12 15

38
T P H T P H T P H T P H T P H T P H T P H T P H
In Your Face Guitar


19 12 14 16 12 15
19 12 14 17 12 14
19 12 14 17 12 14
19 12 15 17 12 15

T P H T P H T P H T P H full
19 12 15 17 12 15 22
20 12 15 17 12 15
Complete Lead
“Everytime I Die”
Part I w/bar  w/bar 
19 15 17
17 17 13

14


Harm.
w/bar
T full P P
12

5 (7 ) (5 )
19 (19) 14 12 0
Part II
17 17 19
16 17 20 16 17 16 17 20 16 17 16 17 16
w/bar  P P H
20 19 17 17 20 17 17
18 18 17 20 20 17 20

17 17 19
39

In Your Face Guitar
w/bar  P P H
20 19 17 17 20 17 17
18 18 17 20 20 17 20

17 17 19
Part III
1 1/2
P
20 (20) 17
20 17

19 17
19 17
 
1/2
Part IV P
17 20 19 19 (19 ) 17 19
18

17
19
20
Part V
20 17 20 17 20 17 20 17
20 17 20 17 20 17 20 17

19 17 19 17 19 17 19 17
20 17

19 17 19 17 19 17
19 17 19 17 19 17 19 17
19 17 19 17 19 17
20 19 17
IPart V
H H T P P P
17 20 24 20 17
17 17

17 17
19 19
19 19
17 20 20 17
40
In Your Face Guitar
Chapter Six
Infusing Other Styles
Into Metal
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

Rhythm 3
Triplet Triplet


Metal Riff

2 X X 5 X X 7 X X 4 5
2 X X 5 X X 7 X X 5 5
0 0 0 0 0 0 0 0


With Palm Slide To Create Harmonics
H P

2 X X 5 X X 7 4 5
2 X X 5 X X 7 X X X 5 5
3 5 3
In Your Face Riff

1/2 1/2 1/2 1/2
sl. sl.
11 11 11 16 11 11 14
14 14 11 13 14 14 10 11 X 10 11 X 14

11 13 X X 11 12 X 11 12 X 11
13 13 10 13 X X 10 11 X 10 11 X
11 13
42
In Your Face Guitar
Blues Techniques for Metal Guitar
Lick 1
13 10
13 10

12 10
12 10 12
Lick 2
13 10
13 10

13 12 10
12
Lick 3
13 10
12 10

12 10
12
Lick 4
1/2 1/2
13
13 13

12
43
In Your Face Guitar
Blues-Metal Solo
1/2 1/2
10 10 10 10 10 10 10 10 10 10 10 10 10 13 10 15 10 13 10 12 13 12 10
13 13 13 10 13 10
1/2 P.H. sl. sl. P sl.

10 10 10
12 13 10 12 10 10

12 13 12 10 10 10
12 12 12 10
12 11 10 8
10 12 10 8 10
1/2 1/2 1/2
10 10 10
10 13 10 10 13 10 10 13 10 12 10

10 12 12 12 12
10 12 10 12
10 12 10 12
10 13
sl. full
P
13 15 (15) 13 15
10 10 10 10 10 13 15

13 13 13 13 12 10 12 10 10 12 14
13 12
44
In Your Face Guitar
DVD 2
Chapter Seven
Bending
In Your Face Guitar
The Scream Bend
sl. P sl.
full full full full full
17 17 17 17 15 15 17 17 17 17 17 17 17
17 17 17 17 17 16 17 17 17 17 17

16 16
The Over Bend
full 1 1/2
19 19 19 19
sl. sl.

1 1/2
19 19 19 18 17 15 15 17 18 19 15 16
17 17 15 17

17
19
46
In Your Face Guitar
Intro a Riff with a Bend

full full 1/2
15 15 12 19 17 17
15 19

1/2  1/2
full full 1/2
The Semitone Bend

15 15 12 19 17 17

12 12
15 19

14 12 14 14 14

1/2 1/2

12 12
14 12 14 14 14
P

1/2
14 14 12

14 12
P P P P P sl. P

H sl.
full 1/2
12
15 15 12 14 12 12 14 14 12

14 14 12 14 12 14 12
14 14 14 12
14 12 10
12 10 12 14
47
In Your Face Guitar
Double Stop with the Whammy Bar
 
     
w/bar w/bar
-1 -1
full full
15 22
15 22
Bend and Tap

T P P T P P
full full
15 19 19 15 12
Dropped “C” Tuning

14 15 15 14 12
14
=D =C
=A =G
=F =C
“D” Tuning
=D =C
Bending as a Rhythm Technique

=A =G
=F =D
“Living Dead Beat”

=A =G
  
P.M. P.M. P.M.

“D” Tuning full full
=A =G

=F = D (thickest string) 7 7 7 7
x x x x
5 5 5 5
0 0 0 0 3 3 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0
48
In Your Face Guitar
Chapter Eight
Crazy Guitar Sounds
=F =C
“D” Tuning
=D =C In Your Face Guitar
=A =G
=F =D

Pick Scrapes
=A =G


 
X
“D” X
Tuning


(thinnest string) = DX =C X
=A =G X 0
=F = D (thickest string) X 0
0
"The Hangover Hand"

    
X
    X X X
X
    X X X


X X X X
0
0
0
 =D 
=C
0
X
=A =G
0
=F =C
“D” Tuning
=D =C
=A =G
=F =D

Rake Harmonics
“Six Pounder”
=A =G
“D” Tuning
N.H. 
=A =G

3
3
3 0
3 0
N.H. N.H. sl. sl.
 (3)
(3) 0 6 5 3 0 4 3 1
(3)
0 0 0 (3) 0 0 0 0 0 6 5 3 0 4 3 1
5 4
0 0 2 3 0 0 3 2
0
0
(3) 0 6 5 3 0 4 3 1 0 0 0 0 0 0 0 0 6 5 3 0 4 3 1 0 0 2 3 0 0 0
50
In Your Face Guitar
Chapter Nine
Syncopations
=F =C
“D” Tuning
=D
=A
=C
=G
In Your Face Guitar
=F =D
Dropped “C” Tuning Syncopated Rhythm

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

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

Syncopated Rhythm
“Lobodomy”
=A =G
“D” Tuning

=A =G
X X X 0 X 0 X X X X 0 X 0 0 0 0 X X X 0 X 0 X X X X X X
                   

0 0 0 0 0 0 0 X X X 0 0 X X X 0 X 0 0 0 0 X X X 0 0 0 0 0 0 0 0 0
                 
   
Riff
P.M. P.M. P.M. P.M.

0 0
0 0 3 6 3 3 2 6 9
3 7 8 5 3 3 2 7 8 5 8
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
P.M.  P.M.  P.M.  P.M. 

0 0
0 0 3 6 5 7 6 9
3 7 8 5 3 5 5 7 8 5 8
0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3
54
In Your Face Guitar
Chapter Ten
Songwriting Dynamics
=D =C
=A =G
=F =C
“D” Tuning
In Your Face Guitar
=D =C
Dynamics - Playing Aggressive

=A =G
=F =D

(thinnest string) =D =C “In Your Face”

=A =G
P.M.
“D” Tuning

(thinnest string) =D =C 4 7
=A =G 3 6
=F = D (thickest string) 2 5
6 3 5 0 6 3 5 5 0 0 6 3 5 2 6
=D =C
=A =G
=F =C
“D” Tuning
=D =C
Dynamics - All Down Strums

=A =G
=F =D
“Punch Me I Bleed”
 P.H. 
=A =G
P.M.
“D” Tuning

=A =G
6 5 0 0 0 6 5 0
X X 0 0 0 X X 0
6 5 0 0 0 6 5 0 0 3 4 5
56
In Your Face Guitar
Chapter Eleven
Playing Slow
In Your Face Guitar
Playing Slow
“Punch Me I Bleed”

 
3 3 5 5 3 3 5 5 6 6 1 1 3 3 1 1 3 3 5 5
2 2 5 5 2 2 0 0 0 0 0 0

1. 2.
w/bar

0 0

1 1 3 3 1 1 3 3 3 3 5 5 6 6 5 5 3 3 5 5 6

2 2 2 2 2 2 2 2 5 5 5 5 5 5 2 2 5 5
58
In Your Face Guitar
Chapter Twelve
Full Songs
=F =C
“D” Tuning
=D
=A
=C
=G
In Your Face Guitar
=F =D

“Blooddrunk”
=A =G
   
“D” Tuning
(thinnest string)Intro
=D =C N.H.
=A =G P.M. P.M. rake P.M.

(3)
(3)

(3)
5 5 5 8 8 8 (3) 3 3 3 3 3 5
5 5 5 6 6 6 8 8 (3) 3 3 3 3 3 3
5 5 5 0 0 0 0 (3) 3 3 3 3 3

Main Melody
13 10 12 15 13 12 13 12
10 13 15 13 13 10 13 15 13

14 12 14 15
12 12 15
13 10 12 15 13 12 10 12 13 10 8 10 12 8
10 13 15 13 13 13 8 8

14
12
  
Verse Rhythm
P.M. P.M. P.M. P.M. P.M.

7 10 7
0 0 0 0 3 0 4 0 0 7 0 0 0 0 2 0 3 7 6
0 0 0 0 3 0 4 0 0 8 5 6 0 0 0 0 2 0 3
0 0 0 0 3 0 4 0 0 0 0 0 0 2 0 3
P.M.  P.M. P.M.  P.M. 
 0
0
0
0
0
0
0
0
4
4
0
0
3
3
0
0
0
0 8 5
7
6
0
0
0
0
0
0
0
0
2
2
3
3
6
6
8 8 8
6 6 6
0 0 0 0 4 0 3 0 0 0 0 0 0 2 3 6
  
Harmony
60
 0
0
0
0
0
0
0
0
4
4
0
0
In Your Face Guitar
3
3
0
0
0
0 8 5
7
6
0
0
0
0
0
0
0
0
2
2
3
3
6
6
8 8 8
6 6 6
0 0 0 0 4 0 3 0 0 0 0 0 0 2 3 6
  
Harmony
Harmony
10 9

7 10 9 8
0 0 0 0 3 0 4 0 0 6 6 0 0 0 0 2 0 3
0 0 0 0 3 0 4 0 0 5 0 0 0 0 2 0 3
0 0 0 0 3 0 4 0 0 0 0 0 0 2 0 3
P.M.  P.M. P.M.  P.M. 

7
0 0 0 0 4 0 3 0 0 6 6 0 0 0 0 2 3 6 8 8 8
0 0 0 0 4 0 3 0 0 5 0 0 0 0 2 3 6 6 6 6
0 0 0 0 4 0 3 0 0 0 0 0 0 2 3 6
 
Bridge 1. 2. 3. 4.
P.M. P.M. P.M. P.M.
    
 2
2
2
2
0 2
0 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2 5 4
2
2 2 2 2
2 2 2 2
3 5
3 5
2 0 2 4 5
2 2 2 2 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 3 5
 
5. 6. 7. 8.
P w/ bar

P.M. P.M.
  
5
 2
2
2
2
2
2
2
2
2
2
5 4 2
2
2
2
2
2
2
2
3
3
5
5
2
2
2 0 2 4 5
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 3 5 2
Chorus
P.M.  P.M. 


11 11 9 9 9 9 11 11 9 9 9 9
2 4 4 2 5 2 4 4 0 5 11 11 9 7 7 9 11 11 9 7 7 9
2 4 4 2 5 2 4 4 0 5 9 9 7 7 7 7 9 9 7 7 7 7
4 4 4 4 4 4 2 4 4 2 5 4 4 4 4 4 4 2 4 4 0 5
1. 2.
61 H


11 11 9 9 9 9 11 11 9 9 9 9
2 4 4 2 5 2 4 4 0 5 11 11 9 7 7 9 11 11 9 7 7 9
2
4 4 4 4 4 4 2
4
4 In Your Face Guitar
4 2
4 2
5
5
2
4 4 4 4 4 4 2
4
4
4 0
4 0
5 9 9 7 7 7 7 9 9 7 7 7 7
5
1. 2.
H

 11 11 11 6 6 6 7 7 7 5 5 5
9 9 9 4 4 4 7 7 7 5 5 5
11 11 11 6 6 6 7 7 7 0 2 2
9 9 9 4 4 4 7 7 7 0 2 2
4
4
6
4
2
0
0 0 0
0 0 0
7 7 7 5 5 5 7 7 7 0 2 2 4 0 0 0

Breakdown 1. 2.
P.M.
 
 7 79 57 9
6
79
67
4 44444 44 4 444444 44 4 44444 44 4 4 7 911 911 4
Keyboard Solo Rhythm

P.M.  P.M.  
P.M. P.M.  P.M.  
P.M. P.M.  1.

P.M. P.M.  P.M.  2.
 
 6
6 6
9
9 9
9
9
6
6 6
9
9 9
7
7 7
9
9
2
2
666 68666666 9 9 9 911 9 9 9 9 9 9 666 68666666 9 9 9 911 7 7 7 7 9 9 2
 P.S.  
Guitar Lead
w/bar w/bar H P P
1 1/2
full full full full full
14 17 17 16 14 21 19 21 19 17 19 17
2 5 10 14 14 17

4 4 X 7 12 16
* P.S. = Pick Slide
H P P

full

1/2
19 17 19 17 15 17 15 14 14 1416 14 16 17 21 17 19 21 22 19 21 22 24 21 22 24
15 17 17 14 16 141617 1617 17

full full
 sl. P.M. P.M.
24 24 24 21 21 22 2421 19 21 2219 17 17 211919 14 16 1715

22 24 22 22 21 21 19 19 15 15 62
21
H P P

full

1/2
19 17 19 17 15
15
17 15
17
14
In Your Face Guitar
17 14 16 141617
14
1617
1416
17
14 16 17 21 17 19 21 22 19 21 22 24 21 22 24

full full
 sl. P.M. P.M.
24 24 24 21 21 22 2421 19 21 2219 17 17 211919 14 16 1715

22 24 22 22 21 21 19 19 15 15

21
Dropped “C” Tuning 2 2 0 2
=D =C 2 2 0 2
=A =G 2 2 2 2 0 2
=F =C
“D” Tuning
=D =C
=A =G
=F =D

“Tie My Rope”
=A =G
Main Riff
“D” Tuning  1.  
 
=A =G
  
7 7 7 9
5 5 5 7
0 2 3 2 0 2 5 3 0 2 3 2 0 2 3 2 0 2

  
2. 3. P.H.

 4 4 4 5  5 5 5 7 7 7
2 2 2 3 3 3 3 5 5 5
6 3 0 2 3 2 0 2 3 2 0 2 5 7 5 7
Verse
P.M.  P.M.  P.M.  1. P.M.  2.
 
  
7 7 9 9
8 7 7 10 10
3 0 6 3 0 5 5 3 5 6
0 0 0 3 0 6 0 0 0 3 0 5 0 0 0 0 0 0 0 0
  
Bridge
 
P.H. P.H. P.H.

7 X X 12 X X 11 X X 12
7 X X 14 X X 12 X X 12
0 0 2 0 3 0 2 2 0 0 0 2 0 2 0 5 0 0 2 0 3 0 2 2 0
0 0 2 0 3 0 2 5 0 0 2 0 2 0 5 0 0 2 0 3 0 2 5
63
In Your Face Guitar
Breakdown
P.M. 
0
0

2
6 6 6 4 6 4 6 2
4 4 4 2 4 2 4 4 4 4 4 0
P.M. 
 2
2
2
2
9
7
7
5 2 0 2
5
5
2 2 2 0 2 2 2 2 2 0 5

Chorus Melody
1/2
P.M.

15 13 13 13 13 13 13 13 15 15 15 15 15 15
 
15 17 15 13 13 13 13 13
1/2
1.
P.M.  2.
1/2

15 13 17 17 13 15 16 15 13 17 15

15 17 15 13 15 15 15 15 15 15 14 16 15 18 16 13

13
Keyboard Guitar Interlude

First Part
H H H H

13 13 13 13 13 13 16 16 16 16 16 16
11 11 14 11 13 11 11 14 14 18 14 16 14 14
11 11 11 14 14 14
H H 1/4

20 20 20 20 20 20 23 23 23 23 23
18 18 21 18 20 18 18 21 23 21 23 21 23 21 23
18 18 18
64
 11 11 14 14 14 13 11 15 15 18 18 18 17 15
Second Part
18
10 18 18 14
13
11
13
11 14
11 16 13 11 In Your Face Guitar
14
13 11
14 13 11
17
15
17
15 18
15 20 17 15
18
17 15
18 17 15

10 14
Second Part
13 13 11 16 13 11
13 11 17 17 15 20 17 15 17 15
11 11 14 14 14 13 11 15 15 18 18 18 17 15

20 10 20 18 18 20 18 20 22 2414 24 24 24 24
18 18 20 22 20 22 22 22 24 22 24 22 24 22 24

17
20 20 18 18 20 18 20 22 24 24 24 24 24
18 18 20 22 20 22 22 22 24 22 24 22 24 22 24

17
Ending
20 20 18 18 20 18 20 22 24 24 24 24 24
P 18 18 20 22 20H22 P 22 22H 24 P 22 24 22 24 22 H24

17
24 17 17 24 17 17 24 17 17 24
22 22 22 22 22 22

Ending 21 21 21
Part I P

H P H P H
24 17 17 24 17 17 24 17 17 24
17 15 12 15 12 12

Guitar Lead 22 22 22 22 22 22
Ending
17 21 17 15 17 15 12 15
21 12 12 21
Part I 17 15 17 15 14 12 14 12
14 14

17 15 12 15 12 12
Part I P 17 17 15
H P17 15 12 15 12 H 12 P H

17 15 17 15 14 12 14 12
2417 17
15 12 15 12 17 12 17
24 17 24 17 14 14 24
17
22 17 22 17 15 17 15 2212 15 1222 12 22 22

17 15 17 15 14 12 14 12
 
21 21 21
14 14

hold bend rake
Part II
 
full
TP T P P 1/2

17 20 17 22 17 17 15
12 15 12 17 15 hold bend rake
17
 
Part II
Part14II 13
12 14 12 15 14 15 full
TP T P P X

12 13 12 14 13 14 hold bend X
rake
1/2
14 17 20 17 22 17 17 15
12 15 12 17 15 full
TP T P P 17

1/2
12 14 12 15 14 15 X
12 13 12 14 13 14 17 20 17 22 17 17 15 X
14 13 14 12 15 12 17 15 17

12 14 12 15 14 15 X
12 13 12 14 13 14 X
14 13 14
Part III 

1/2 1/2

 
12
12 14 15 14 14 15 12 14 12
Part12III13 14
Part III 12 12 14 15 15 14 12 14 12
 
12 13 14 12 1/2 1/2
14 14
12
12 14 15 14 14 15 12 14 12

1/2 1/2
12 12 14 15 15 14 12 14 12
12 13 14 12 12 14 14
12 13 14 12 14 15 14 14 15 12 14 12

12 12 14 15 15 14 12 14 12
65 12 13 14 12 14 14
12 13 14
Part IV
17 15 12 15 12 12
17 17 15 17 15 12 15 12 12

17 15 17 15 14 12 14 12
In Your Face Guitar 14 14
 

hold bend rake
Part II full
TP T P P 1/2
17 20 17 22 17 17 15
12 15 12 17 15 17

12 14 12 15 14 15 X
12 13 12 14 13 14 X
14 13 14
Part III 

1/2 1/2

12
12 14 15 14 14 15 12 14 12

12 12 14 15 15 14 12 14 12
12 13 14 12 14 14
12 13 14
Part IV
15 19 17 15
17 17 15

16 16 14 16 14 16 14 14
17 17 14 17 17 14 17 14 17 14 14
19 17 14 17 14
 
Whammy Dives

12 12 11 11 12 12 17
14 14 14 14 12 12 12 12 17
66
In Your Face Guitar
“Hatecrew Deathroll”
Intro
sl. sl. sl. sl. sl. sl.

  7
5
9
7
7
5
9
7
7
5
9
7
7
5
9
7
7
5
9
7
7
5
9
7
0 0 0 0 0 0 0 0 0 0 0 0
1. 2.

 
9 9 9 9 7 7 7 7
2 2 2 2 5 5 5 5
0 0 0 0 3 3 3 3 7 7 7 7 5 5 5 5
sl. sl. P.M.  sl. sl. P.M.  sl. sl. P.M. 

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

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

  


A.H.
w/bar
0 0
5

5
3
 17  
Solo
Bridge
1/2 3 1/2 full
P.M. P.M. P.M. P.M. 18 15 P.M. P.M. P.M. P.M. P.M.

(17) 15 15
15 17 17 17 14 17 14 14

 
14 12 15 15 12 15 12 12
14 14
3 3 6 3 3 6 3 3 6
3 3 6 3 3 6 3 3 6

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
sl. sl.

1. 2. 15 14

14 11 14 11 11 14 14 14 12 11
13 13 10 13 11 12 12

8 8 8 7 7 11 7
12 8 8 8 7 7 7

9 9 9 7 7 7 9 9 9 8 8 8
9 9 9 9 9 9 9 9 9 8 8 8
7 7 7 9 9 9 7 7 7 6 6 6
7 7 7
  
17 17 17 17 16 16 16 22 22 22 22 21 21 21 15 12 14 15 17 14 15 17

P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.

  3
3
3
3
6
6
3
3
3
3
6
6
3
3
3
3
6
6
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
19 15 17 19 17 15 15 12 12 10 10 7

17 15 15 12 12 10 10 8
 
1. 2.
w/bar

A.H.

8 8 8 7 7 7

9 9 9 7 7 7 5 0 7
9 9 9 9 9 9
7 7 7 9 9 9 5 0
7 7 7
Chorus
 13 
1/2
12 15 14 14 12 12 14 10 14 12 15 14 12
15 15 12 15 12
 
15 13 10 12 15

12 12 12 12 14
69
 12
 
 
12 12 12 14
  0 
9
10 12 10 12 9 9 9 10
0 0
10
0 8
8
0
0 0
12
10
0 10 0
0
In Your Face Guitar
0 0 0 0
0 0 0 0
0
0
0
0
0
0
0
0 0
10
0 8
8
0
0 0
12
10
0 10
7 10 9
7 10
7 10 9 10
7 10
 A.H.   A.H.
3x
Transition Riff 3x
Transition Riff
P.M. A.H. P.M. A.H. P.M. P.M. A.H. P.M. A.H. P.M.
 08 
P.M. A.H. P.M. P.M. P.M. A.H. P.M. P.M.
7
0 7 010 9 5 09 70 0 7 95 50 9 0 7 10 95 7 0 10 0
0 0 5 0
0 5 100 0 0
8 5 5 0 0 7 0 5 0
10 0 100 7 5 0
  
 
7 7 7 9 7 9 7
9 7


A.H.
A.H. sl. 1/2
w/bar
12 15 14 14 17 14 17 14w/bar 10 14 12 15 14 12
0 13 0 15 15 10 12 15 15 15 12 15 12

012 0 12 5 12 14

5 5

5 3
3
    
Bridge 2
Solo
SoloP.M.1/2 P.M. 1/2 full
P.M. P.M. P.M.
1/2 1/2 full
17 (17) 15 18 15 15
15 17 (17) 15 17 18 15 17 15 17 14 17 14 14


15
14 12 17 17 17 14 17 14 15 14 15 12 15 12 12
14 10
12 12 15 8 15 12 15 12 2 12
14 14
8 14 10 8 214
0 0 0 0 0 0 0 0 0 0 0 0 0 0 6 0 0 0
sl.
sl.
sl.
sl.



15 14
14 11 14 11 11 14 14 15 14 14 12 11
14 11 14 11 13 11 13 10 13 14 11 12 14 12 14 12 11
13 13 10 11 12 13 11 12 12
11 12
17 17 17 17 16 16 16 22 22 22 22 21 21 21 15 12 14 15 17 14 15 17
17 17 17 17 16 16 16 22 22 22 22 21 21 21 15 12 14 15 17 14 15 17

19 15 17 19 17 15 15 12 12 10 10 7
19 15 17 19 17 15 17 15 15 12 15 12 12 10 12 10 10 7 10 8

17 15 15 12 12 10 10 8
70
In Your Face Guitar

w/bar
w/bar  full full
full full
22
5 3 5 8 5 8 10 8 10 12 10 12 15 12 14 17 15 17 20 17 20 22 20 22 22 22 22

5 3 5 8 5 8 10 8 10 12 10 12 15 12 14 17 15 17 20 17 20 22 20 22 22 22


hold bend
hold bend 
full
full 1/2
full
T P T P
full 1/2 T P T P
15 15 15 20 15 18 15 15

15
14 15 15 20 15 18 15 15

14
H TP P H TP P H TP P H TP P
H TP P H TP P H TP P H TP P
7 10 15 10 7 7 10 14 10 7 7 10 12 10 7 7 10 12 10 7
8 7 10 15 10 7 8 8 7 10 14 10 7 8 8 7 10 12 10 7 8 8 7 10 12 10 7 8

7 8 8 7 8 8 7 8 8 7 8 8

7 7 7 7
T P TP P P TP T P P P
T P TP P P TP T P P P
15 19 24 19 15 15 19 20 19 20 19 15 17
17 15 19 24 19 15 17 17 15 19 20 19 20 19 15 17 20 19 20 19 17 15

16 17 17 16 17 20 19 20 19 17 15

17 16 16
17 17
15 19 17
15 19
T P T P P P T P T P P P T P T P P P T P T P P P
T P T P P P T P T P P P T P T P P P T P T P P P
20 19 20 19 15 17
20 19 20 19 15 17 20 19 20 19 17 15

20 19 20 19 17 15 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 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
71
In Your Face Guitar
H C
O B
C
72
In Your Face Guitar
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In Your Face Guitar
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Beginner Leo Nocentelli Riffs, Rhythms & Workout Routines

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Laiho Alexi Method 2

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In Your Face Guitar

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Chapter 3: Writing a Harmony Guitar Section

Chapter 4: Warm Up Exercises

Chapter 5: Writing a Lead

Chapter 6: Infusing Other Styles Into Metal

Chapter 8: Crazy Guitar Sounds

Chapter 10: Songwriting Dynamics

Chapter 11: Playing Slow

Chapter 12: Full Songs

How To Get Your Next Rock House Product .................................................................................. 73

How to Use the Lesson Support Site

ﬁrst string fret number

Dropped “C” Tuning

C Major Scale Sequences

E Minor Scale Pattern #1

E Minor Scale Pattern #2

E Minor Scale Pattern #3

E Minor Scale Pattern #3 - Sixteenths

E Minor Scale Pattern #3 - Triplets

Full Scale Run #1

Full Scale Run #2

Pentatonic Scale Sequences

In Your Face Guitar

Combining Pentatonic Scale Patterns

Pattern #2 Two String Sequence

Repeat All 4x with P.M.

Three String Arpeggios

String Skipping Arpeggios

Sweep Tap Six String Arpeggios

1916 19 1512 14 1815 18 12 9 12 1512 15 9 6 8 12 9 6 3

D Major String Skip

Arpeggio Combining Techniques

P P H H sl. P H sl. P P full

Five String Arpeggio Pattern

Verse Harmony Section

Dropped “C” Tuning

Pivoting Harmony Section

Basic Pattern Variation Moving Across the Neck sl.

1013121310131213101312 1310131213 10131213 7 10 8 10 8 1210 12 5 8 7 8 7 10 8 10 4 7 5 7 5

Classical Bach Exercise

In Your Face Guitar

Dropped “C” Tuning

 Position   

T P H T P H 1/2 T P H 1/2 1/2

In Your Face Guitar

In Your Face Guitar

In Your Face Guitar

full full H P TP H full T P H full TP H full TP H full

In Your Face Guitar

Funk Techniques for Metal Guitar

In Your Face Riff

1/2 P.H. sl. sl. P sl.

1/2 1/2 1/2

The Scream Bend

The Over Bend

Intro a Riff with a Bend