Revocation Lesson - How to Play "Madness Opus" and "Witch Trials" with Dave Davidson
Vložit
- čas přidán 25. 08. 2024
- For tabs of this lesson, go to: www.guitarworld...
A favorite compositional technique of mine in the songs I record and perform with Revocation is to incorporate the use of odd and shifting meters in the writing of primary riffs.
Another cool approach I often take is to combine straight 4/4 time with odd meters to create some interesting and unique amalgamations.
For the song “Madness Opus,” I set the main figure, which is phrased in a rhythm of steady eighth-note triplets, in 3/4 meter, as shown in FIGURE 1. If we think of the initial note, F, as the tonic, or root, the chord that is alluded to is Fm-maj7b5.
The use of pull-offs on the sixth string is essential to the proper articulation and sound of this riff. The one-bar pattern is played three times, after which I transpose it down a step and a half, or a minor third, so that the initial note is D, at which point the chordal allusion is Dm-maj7b5. Regarding the pick-hand, I pretty much stick with alternate (down-up) picking throughout, starting with two downstrokes on the low F notes and then switch to alternate picking for the notes that are consecutively picked.
On the recording, after this phrase cycles through a few times, I bring in an overdubbed guitar part, illustrated in FIGURE 2, that plays the same riff but transposed up a minor third, or a step and a half. This results in a harmonized line known as a parallel harmony, for which every fretted note is a minor third above the melodic line.
Given that the line itself is very dissonant sounding, the harmony of a minor third above it pushes the musical effect even further into “alien” territory. I love to harmonize riffs using different intervallic distances like this, and playing a line a minor third above always works well.
Another great example of the incorporation of odd meter is the primary riff to “Witch Trials,” shown in FIGURE 3. The majority of this phrase is played in 5/4 time, after which I shift very unexpectedly to 3/4. The figure is played in straight 16th notes but phrased in five-note groups, so that the initial note, the open low E, steadily shifts one 16th note later in the bar through each five-note group. The very nature of the phrasing of the melody creates the 5/4 meter in that it takes five beats of the pattern before the open low E will once again fall squarely on beat one. At the end of the phrase, I play a very atonal chord that my be analyzed as C#(b9)/E#.
For our final example, also from “Witch Trials,” (see FIGURE 4), I begin in 4/4 but then wrap up the idea in 3/4. I think of the riff as being in A natural minor (A B C D E F G) with pairs of intervals placed against the low A pedal tone. I begin with a pair of notes-E and B, a fourth apart- followed by F and C, a fifth apart, then by A and F, an augmented (sharped) fifth apart. When I shift to 3/4, I simply bring the open low A pedal tone back in after playing the phrase across three quarter notes
Him and Josh Middleton from Sylosis are for me the most relevant metal guitarists of the last years
Crest Fallen My thoughts exactly. They're 2 of my top 5 favorite guitarists. Their technique and knowledge of theory is awesome. I'd love to take lessons w/ either
Who are your other three?
same for me and Im a drummer lol... David Disanto from Vektor would be another, but all of those just in thrash... there are heaps of other really good guitarists... even thouh he is a dick, michael keen from the faceless, scott carstairs from fallujah are also major players in death metal rn, I really like the riffs of semjaza in thy darkened shade and the dudes in dodecahedron (forgot the name), because it is not your standard riffs... especially in black metal
Better add Goonzy of Bleed From Within to that list boyo
I couldn't agree more, for heavy music they are for sure at the top. For more progressive stuff I do like Luke Hoskin a lot and Chris Letchford.
This guy is a RIFF Master. Very humble too
This guy is a straight up genious who gets the aspect of composing more than anyone else. Period.
Witch Trials is the best song on the new record. Please do a tutorial on the solo!
witch trials is disgustingly good.
I don't think I've heard anything quite as unorthodox but doesnt clash with itself. I was expecting the chromatic jarring that post-modern era metal needs to work beyond, this stuff makes me instantly think "contemporary," def the most relevant to musical possibilities. I know to use scales exotically but this dude is too good. wow
pass the joint
I love how he’s able to take a badass song with such an awesome feel and break it down into an exact science
There is an affable way to your teaching, gliding through explanations as deftly as the riffs. Wonderful to see an artist take the time to explain the craft.
OMG WITCH TRIAAALLSLSSS FUCCKK that song literally is out of this fucking universe
Justyn Fogarty Fuck yeah it is.
that witch trials riff is so fucking hard
Witch trials riff is crazy good
That is beautiful, a true master player
His right hand is laser precise, I don't understand how he can string skip so fast
Music school. He went to Berkeley. Same as everyone from Dream Theatre and Brendan Smalls.
Practice. Hours of practice. Every day.
We need more Dave videos to go over the latest record
That Witch Trials riff is so fucking hard
this is my guy.. I wish he played for more bands..
I’m not a big fan of the super death metal vocal but can’t argue with the guitar work and theory! And I’m oddly in love with that guitar!
listening to this on half speed makes Dave sound super drunk lol but it's the only way I could possibly keep up, even with his "slow" versions I can't figure out what the hell he's doing lol
I need to work on my tremolo picking now..
So sick!!
truly a master! awesome
*Davidson c'mon guys
I’ve been trying to get this riff down for a year
do you like deathmetal?
Song in the intro?!!
+Businessman Invidious from Revocation
This man is of unholy origins !
Dave has tiny fingers.