What's up guys, Bernth here.
Today we will do something quite a bit different and take a look at a live performance video of the
amazing Kiko Loureiro, current guitar player for the band Megadeth.
There's quite a lot to learn by watching what's happening here and I'd like to dive a bit
into the general construction of the guitar solo, his technique and theory approaches
and also the performance itself.
The song is called Conquer or Die and is taken from the latest Megadeth record Dystopia which you
should definitely check out if you are a fan of great guitar work and songwriting, the solos on there
are spot on.
If you like what you see make sure to subscribe to stay updated for more guitar lessons
and if you'd like to learn more I release weekly in depth-lessons on patreon.com/bernth
Let's get started with the video now!
I already have to stop here because the intro of the solo is very cool to me - instead
of starting in the first measure of the main solo riff Kiko is accenting the last four
chords before that, a small descending two measure cadence.
It sounds and is played like that to my knowledge.
We are in D standard tuning here so Dave is playing an A powerchord, then goes down to
G but adds to major sixth, so E here can stay.
Then goes down to F with the added major sixth D and major third A - that sounds really nice
And the last chord is an E powerchord before we're back at D for the main solo riff.
Kiko is playing against this descending riff by moving up the fretboard with some really
cool unison bends, that's very interesting in my opinion.
For these you play an interval and bend up the lower note until it reaches the pitch
of the higher note you are playing, for example with C# here, that's the first unison bend.
He is also adding some nice vibrato to give those bends more character and emotion.
The first note C# here is the major third to the chord in the background
so that adds more harmonic context and is much more interesting than just playing an unison bend of the
the root note or even just the fifth.
Up next he does the same thing for the notes D, E and F - here's that part.
After that he really makes a great introduction right at the beginning of the actual solo
with pretty much the highest note he can hit on the guitar in this tuning - he's bending up to D from
C on the 22nd fret of the high D string.
Let's see what happens next.
I have to stop again although it's very hard to interrupt his great playing - another
cool thing right at the beginning of the solo is his utilitazion of hybrid picking here.
Kiko is also an amazing acoustic guitar and fingerstyle player and if you know the intro
to this song I'm pretty sure you know what I'm talking about.
If you have any unique skills that you don't see in the music you're playing a lot I definitely
encourage you to include them in your playing or songwriting, this will really set you apart
from the rest and the competition is really big nowadays as we know.
I for example studied Jazz guitar and include a lot of music theory knowledge in my playing
like advanced chords, exotic scales, custom arpeggios, chord substitution and more.
If you manage to find your own personal sound and something that people will remember about you
or your playing you're on a great way in my opinion.
So with his hybrid picking technique he has the possibility to skip between different
strings quite easily, this part of the solo would be much harder without this special
technique.
He's playing octaves here and that leaves us with a nice rhythmic syncopation since
the notes are repeated one octave higher and perfectly connected with slides.
Here's an example of a lick like that since you can't hear or see it that clearly in the video.
Let's continue watching now.
Right here I really like that he picked up again on the unison bending motive from the beginning of
the solo and that he reworked it a little bit.
Working with catchy phrases in your solo is much more entertaining and enjoyable for the
listener than just shredding away all the time.
To my knowledge Kiko improvised this solo and relearned it for the stage so his improvisational
skills also are really, really good. Let's continue watching.
Notice how freely he's moving on stage here although he's playing some very heavily accentuated
licks.
That is so much harder than it looks here, not only because the shows he is playing are
so big - just try it out at home and then imagine yourself in an arena while being filmed by
hundreds of people in the audience.
This kind of freedom in performance takes many years to learn and hard work to achieve and is
often neglected aside from all the talk about technique and theory.
I remember playing my personal biggest show live on TV in front of 100000 people and getting into
a relaxed and easy mindset before playing was very hard for me and it took a couple of songs
to really get into it - so that's a thing that Kiko has really perfected in my opinion when he's
running out to the front of the stage right at the beginning of the set.
For me it gets better with every show and tour and I'm sure that you will also see lots
of progress the more time you spend on stage so definitely keep playing live. Let's see what happens next.
Exactly - the same goes for this quite complicated pattern requiring some stretching, he wears his guitar
quite low and if you don't have a good left hand technique it will be quite hard to play
as well as when you're sitting down. You can try this out at home, when you're sitting down like this
it's very easy to stretch quite far, as soon as the guitar moves down and your technique gets a little bit sloppier
you end up with this kind of angle and then there's not a lot of freedom of your fingers so it will be very hard to
execute the same kind of stretching licks that Kiko is playing here on stage.
Let's take a quick step back and look at the cool speed picking phrase he played here at the end, I really
love how clean it is exectuted in terms of note spacing and dynamics.
Exactly, that one. It's in harmonic minor, so the 7th scale degree is raised in comparison
to the aeolian or natural minor sound and that makes it just a little bit more exotic.
It's this kind of sound - this would be the raised seventh here, just a half step away from the root.
That has a really dark and exotic sound to it, I like this one a lot.
So it's just a small or short lick but it has quite an impact to me because he's playing it so clean and the scale is a
little bit more exotic than the standard minor approach. It's great that he saved the really fast sections for later
in the solo, that way of writing solos is much more interesting and the general structure of the whole solo
is really good in my opinion. Let's continue.
There we here the unison bend theme again which is great.
This might be the catchies part of the whole guitar solo and the concept is also very interesting,
this is the last thing I will go into although I could talk all day about all these killer
sections.
The riff in the background is a chromatic composition, very common for Megadeth songs
and I would even go that far and call it a small trademark of the band or the way Dave Mustaines is writing riffs.
So Kiko can pretty much choose how to compose and place his arpeggios over these single
notes, they are not defined as major or minor or diminished or augmented by the rhythm guitars or bass.
You still have to be a little careful with that since suddenly using notes that are not in the key
you are playing in can also sound very strange.
In this case it's not taken to the harmonic extreme, Kiko is starting with a D minor arpeggio or
just part of the D minor scale for D here which sounds very nice, and then as soon as the rhythm guitar goes to
E, Kiko is playing an E major arpeggio and then when he gets to D# he' playing a D# major arpeggio.
So that's the color for D
That's the color for E and then we have...
...for D#.
And that's the reason why it sounds so unique and catchy, instead of just playing within the scale he
is arpeggiating the single notes from the rhythm guitar or bass just like a Jazz guitar
player would approach improvisation over complex chords for example.
I don't hear that a lot in metal and small theory tricks like this one add so much to
the sound of your solo and your band in general in my opinion. Let's see how he ends the solo now.
Nice pose in the end too - so for the grand finale we have some crazy pick tapping and another tapping figure to
top it off - and then we end with the bended root note D as the climax, just like he played it in the beginning.
I really love that final buildup to this moment and the tension that is created this way.
The whole solo has a really epic feeling to it and I'm sure that people that don't listen
to instrumental music or are not guitar players at all will not skip this song on the record.
It is so well put together and composed and entertaining and that really is quite a challenge when you
write a song without vocals.
I hope you enjoyed this video, I would like to thank Kiko in the end for uploading so
many amazing videos on his YouTube channel, if you're not subscribed to him head right now, you can learn a lot
from his videos, he also posts some really cool playthrough of Megadeth songs and some great lessons
where you can learn about technique and theory.
We played a festival show called Nova Rock together, that's a festival in Austria. He played there with Megadeth
last year, I played there with Seiler und Speer and he warmed up in the backstage booth right next to me and
that immediately inspired me to pick up the guitar and start practicing.
I watched part of the show and it was really amazing, I sadly had to leave soon because
we were gearing up to play on the other stage.
So have fun practicing, leave a like if you enjoyed the video and leave a comment to let me know what you
want to discuss next. All the best, I will see you soon.
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