Chords for Bumblefoot's Guitar Gods Lesson: Yngwie Malmsteen
Tempo:
113.75 bpm
Chords used:
E
G#
C#
D
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret

Start Jamming...
[G] [E]
The next one I want to talk about is someone that I had the pleasure of touring with last
year and someone that I've listened to since I was a young teenager.
Someone that put neoclassical metal on the map.
Yngwie J.
Malmsteen.
Yes.
So, what makes Yngwie sound like Yngwie?
First, everything is very classical based as far as, you know, classical classical.
Like the real, [B] that [Am] [G#] kind of stuff.
So, [C#] what makes that sound like that?
It is the harmonic minor scale.
A harmonic minor scale is when we take that minor scale, [E] we take the seventh note of [G#] that
[D] and we lift [F#m] it like that.
[C#] [F#] [F#]
And having that little lift is something that was very popular [A] in old classical music.
[C]
[E] [A]
[D] [F] So, Yngwie based a lot of what he [D] wrote around that scale.
[C#]
[F#m] [Bm]
[E] [D#]
[C] Nice.
[D#] What is it about the way he plays?
Well, first there's the scale itself.
Let's take a look at that.
You have, [D]
and then you have in [G#] the next octave.
[D] But [F#] before every first starting note, [C#] you add that raised seventh.
[F] [F#]
That thing right there.
So, you have, [B] [F#]
[Fm] [G#]
and that's how you get that whole thing.
And what he did is he did a lot of little trills off his third finger with his fourth finger.
So instead of just going, [F#m] here we go.
[B]
[F#m]
[F#]
[F#m] He also did a lot of arpeggios.
What is an arpeggio?
An arpeggio is when you take a chord and you break [G#] it down into the notes that make up that chord.
The first, [F#m]
the third, and the fifth note of the scale.
[F#m]
[C] So Yngwie would use a lot of arpeggios and a lot of the harmonic minor.
[G#]
A lot of the [G] arpeggios.
[C] And a really big vibrato.
His vibrato was a wide one.
It wasn't like, [B] here it is.
[A#] So he would do a lot of
[D#] little arpeggiated diminished things.
[N]
So, [C#] you would do that little trill.
[F#]
[G#] [B]
That's good.
[A] [F#] [F]
[G] So Yngwie also did a lot of one string [G] patterns.
Do things like, [D]
[F#m] [B]
[G#] he would [D#] do a lot of things with groups of six notes as well.
[E]
[Em]
Stuff like that.
So let's put it all together.
We'll put together the harmonic minor stuff [E] that he's doing.
And we'll put together all the arpeggiated
[Am] [C#]
[Am] [D] And we'll put together all the single string stuff.
And he would do these four note patterns going up.
[A]
[D] That kind of stuff.
[D#] So the end of one of his songs [C#] that [A#] went
[C#] [C#m]
[B] [E]
[D#] Something like that. So yeah.
So let's break it down.
So he's doing his
[C#m] You can see it there.
It's [A#] C sharp minor with that lifted seven.
You got [C#] one, two, three, four, five, six, seven.
So, [G#] then he's got his four notes.
And then his one string.
And then arpeggios.
[C#m] [E]
So yeah.
Yngwie Malmsteen.
[A#] The pioneer.
You hear the person who pretty much opened the door for all the neoclassical metal that you hear right now.
Very cool.
[Dm] Nice.
Thanks.
Hey everybody.
I am Ron Bumblefoot Thole.
[A] And I want you to subscribe to Louder Noise.
[E]
The next one I want to talk about is someone that I had the pleasure of touring with last
year and someone that I've listened to since I was a young teenager.
Someone that put neoclassical metal on the map.
Yngwie J.
Malmsteen.
Yes.
So, what makes Yngwie sound like Yngwie?
First, everything is very classical based as far as, you know, classical classical.
Like the real, [B] that [Am] [G#] kind of stuff.
So, [C#] what makes that sound like that?
It is the harmonic minor scale.
A harmonic minor scale is when we take that minor scale, [E] we take the seventh note of [G#] that
[D] and we lift [F#m] it like that.
[C#] [F#] [F#]
And having that little lift is something that was very popular [A] in old classical music.
[C]
[E] [A]
[D] [F] So, Yngwie based a lot of what he [D] wrote around that scale.
[C#]
[F#m] [Bm]
[E] [D#]
[C] Nice.
[D#] What is it about the way he plays?
Well, first there's the scale itself.
Let's take a look at that.
You have, [D]
and then you have in [G#] the next octave.
[D] But [F#] before every first starting note, [C#] you add that raised seventh.
[F] [F#]
That thing right there.
So, you have, [B] [F#]
[Fm] [G#]
and that's how you get that whole thing.
And what he did is he did a lot of little trills off his third finger with his fourth finger.
So instead of just going, [F#m] here we go.
[B]
[F#m]
[F#]
[F#m] He also did a lot of arpeggios.
What is an arpeggio?
An arpeggio is when you take a chord and you break [G#] it down into the notes that make up that chord.
The first, [F#m]
the third, and the fifth note of the scale.
[F#m]
[C] So Yngwie would use a lot of arpeggios and a lot of the harmonic minor.
[G#]
A lot of the [G] arpeggios.
[C] And a really big vibrato.
His vibrato was a wide one.
It wasn't like, [B] here it is.
[A#] So he would do a lot of
[D#] little arpeggiated diminished things.
[N]
So, [C#] you would do that little trill.
[F#]
[G#] [B]
That's good.
[A] [F#] [F]
[G] So Yngwie also did a lot of one string [G] patterns.
Do things like, [D]
[F#m] [B]
[G#] he would [D#] do a lot of things with groups of six notes as well.
[E]
[Em]
Stuff like that.
So let's put it all together.
We'll put together the harmonic minor stuff [E] that he's doing.
And we'll put together all the arpeggiated
[Am] [C#]
[Am] [D] And we'll put together all the single string stuff.
And he would do these four note patterns going up.
[A]
[D] That kind of stuff.
[D#] So the end of one of his songs [C#] that [A#] went
[C#] [C#m]
[B] [E]
[D#] Something like that. So yeah.
So let's break it down.
So he's doing his
[C#m] You can see it there.
It's [A#] C sharp minor with that lifted seven.
You got [C#] one, two, three, four, five, six, seven.
So, [G#] then he's got his four notes.
And then his one string.
And then arpeggios.
[C#m] [E]
So yeah.
Yngwie Malmsteen.
[A#] The pioneer.
You hear the person who pretty much opened the door for all the neoclassical metal that you hear right now.
Very cool.
[Dm] Nice.
Thanks.
Hey everybody.
I am Ron Bumblefoot Thole.
[A] And I want you to subscribe to Louder Noise.
[E]
Key:
E
G#
C#
D
F#m
E
G#
C#
_ _ _ [G] _ _ _ _ [E] _
_ The next one I want to talk about is someone that I had the pleasure of touring with last
year and someone that I've listened to since I was a young teenager.
Someone that put neoclassical metal on the map.
Yngwie J. _
Malmsteen.
Yes.
So, what makes Yngwie sound like Yngwie?
First, everything is very classical based as far as, you know, classical classical.
Like the real, _ [B] that _ _ _ [Am] _ [G#] kind of stuff.
So, [C#] _ what makes that sound like that? _
It is the harmonic minor scale.
A harmonic minor scale is when we take that minor scale, _ _ [E] we take the seventh note of [G#] that
_ [D] and we lift [F#m] it like that.
_ [C#] _ _ [F#] _ _ [F#] _ _
_ And having that little lift is something that was very popular _ [A] in old classical music.
[C] _ _
[E] _ _ _ [A] _ _ _ _ _
_ _ [D] _ _ [F] So, Yngwie based a lot of what he [D] wrote around that scale.
_ [C#] _ _
_ [F#m] _ _ _ _ [Bm] _ _ _
[E] _ _ _ [D#] _ _ _ _ _
_ _ [C] _ _ Nice.
[D#] What is it about the way he plays?
_ Well, first there's the scale itself.
Let's take a look at that.
You have, _ _ [D] _ _
and then you have in [G#] the next octave.
_ [D] But [F#] before every first starting note, [C#] you add that raised seventh.
[F] _ [F#]
That thing right there.
So, you have, [B] _ _ [F#] _ _
_ _ [Fm] _ [G#] _ _ _ _ _
_ _ _ _ _ and that's how you get that whole thing.
And what he did is he did a lot of little trills off his third finger with his fourth finger.
So instead of just going, _ [F#m] here we go.
_ _ [B] _ _ _
_ _ [F#m] _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ [F#m] _ He also did a lot of arpeggios.
What is an arpeggio?
An arpeggio is when you take a chord _ and _ you break [G#] it down into the notes that make up that chord.
The first, [F#m] _
the third, and the fifth note of the scale.
_ [F#m] _ _
_ _ _ [C] So Yngwie would use a lot of arpeggios and a lot of the harmonic minor.
_ [G#] _ _ _ _
_ _ _ _ _ A lot of the [G] arpeggios.
_ [C] And a really big vibrato.
His vibrato was a wide one.
It wasn't like, _ [B] here it is. _
_ _ [A#] _ So he would do a lot of _
[D#] _ _ little arpeggiated diminished things.
_ [N] _ _ _ _ _ _
So, [C#] you would do that little trill.
_ _ [F#] _
_ _ [G#] _ _ _ _ [B] _ _
That's good.
[A] _ _ [F#] _ _ [F] _
_ [G] _ So Yngwie also did a lot of one string [G] patterns.
Do things like, [D] _ _ _
_ [F#m] _ _ _ _ _ [B] _ _
_ _ _ [G#] he would [D#] do a lot of things with groups of six notes as well.
_ [E] _ _ _ _
_ _ _ _ _ [Em] _ _
Stuff like that.
So let's put it all together.
We'll put together _ the harmonic minor stuff [E] that he's doing. _ _
_ _ _ _ And we'll put together all the _ arpeggiated_
[Am] _ _ [C#] _ _ _
[Am] _ _ [D] _ And we'll put together all the single string stuff.
_ _ _ And he would do these four note patterns going up.
_ _ [A] _ _ _
[D] _ _ That kind of stuff.
[D#] So the end of one of his songs [C#] that [A#] went_ _ _ _
[C#] _ _ _ [C#m] _ _ _ _ _
_ _ _ _ _ [B] _ _ [E] _
_ _ [D#] Something like that. So yeah.
So let's break it down.
So he's doing his_
_ [C#m] You can see it there.
It's [A#] C sharp minor with that lifted seven.
You got [C#] one, two, three, four, five, six, seven.
So, _ [G#] _ _ then he's got his four notes. _ _
And then his one string. _
And then arpeggios. _ _ _ _ _
_ [C#m] _ _ _ _ _ [E] _ _
_ _ _ _ So yeah.
Yngwie Malmsteen.
[A#] The pioneer.
You hear the person who pretty much opened the door for all the neoclassical metal that you hear right now.
Very cool.
[Dm] Nice.
Thanks.
_ Hey everybody.
I am Ron Bumblefoot Thole.
[A] And I want you to subscribe to Louder Noise.
_ [E] _ _ _ _ _ _ _ _ _ _
_ The next one I want to talk about is someone that I had the pleasure of touring with last
year and someone that I've listened to since I was a young teenager.
Someone that put neoclassical metal on the map.
Yngwie J. _
Malmsteen.
Yes.
So, what makes Yngwie sound like Yngwie?
First, everything is very classical based as far as, you know, classical classical.
Like the real, _ [B] that _ _ _ [Am] _ [G#] kind of stuff.
So, [C#] _ what makes that sound like that? _
It is the harmonic minor scale.
A harmonic minor scale is when we take that minor scale, _ _ [E] we take the seventh note of [G#] that
_ [D] and we lift [F#m] it like that.
_ [C#] _ _ [F#] _ _ [F#] _ _
_ And having that little lift is something that was very popular _ [A] in old classical music.
[C] _ _
[E] _ _ _ [A] _ _ _ _ _
_ _ [D] _ _ [F] So, Yngwie based a lot of what he [D] wrote around that scale.
_ [C#] _ _
_ [F#m] _ _ _ _ [Bm] _ _ _
[E] _ _ _ [D#] _ _ _ _ _
_ _ [C] _ _ Nice.
[D#] What is it about the way he plays?
_ Well, first there's the scale itself.
Let's take a look at that.
You have, _ _ [D] _ _
and then you have in [G#] the next octave.
_ [D] But [F#] before every first starting note, [C#] you add that raised seventh.
[F] _ [F#]
That thing right there.
So, you have, [B] _ _ [F#] _ _
_ _ [Fm] _ [G#] _ _ _ _ _
_ _ _ _ _ and that's how you get that whole thing.
And what he did is he did a lot of little trills off his third finger with his fourth finger.
So instead of just going, _ [F#m] here we go.
_ _ [B] _ _ _
_ _ [F#m] _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ [F#m] _ He also did a lot of arpeggios.
What is an arpeggio?
An arpeggio is when you take a chord _ and _ you break [G#] it down into the notes that make up that chord.
The first, [F#m] _
the third, and the fifth note of the scale.
_ [F#m] _ _
_ _ _ [C] So Yngwie would use a lot of arpeggios and a lot of the harmonic minor.
_ [G#] _ _ _ _
_ _ _ _ _ A lot of the [G] arpeggios.
_ [C] And a really big vibrato.
His vibrato was a wide one.
It wasn't like, _ [B] here it is. _
_ _ [A#] _ So he would do a lot of _
[D#] _ _ little arpeggiated diminished things.
_ [N] _ _ _ _ _ _
So, [C#] you would do that little trill.
_ _ [F#] _
_ _ [G#] _ _ _ _ [B] _ _
That's good.
[A] _ _ [F#] _ _ [F] _
_ [G] _ So Yngwie also did a lot of one string [G] patterns.
Do things like, [D] _ _ _
_ [F#m] _ _ _ _ _ [B] _ _
_ _ _ [G#] he would [D#] do a lot of things with groups of six notes as well.
_ [E] _ _ _ _
_ _ _ _ _ [Em] _ _
Stuff like that.
So let's put it all together.
We'll put together _ the harmonic minor stuff [E] that he's doing. _ _
_ _ _ _ And we'll put together all the _ arpeggiated_
[Am] _ _ [C#] _ _ _
[Am] _ _ [D] _ And we'll put together all the single string stuff.
_ _ _ And he would do these four note patterns going up.
_ _ [A] _ _ _
[D] _ _ That kind of stuff.
[D#] So the end of one of his songs [C#] that [A#] went_ _ _ _
[C#] _ _ _ [C#m] _ _ _ _ _
_ _ _ _ _ [B] _ _ [E] _
_ _ [D#] Something like that. So yeah.
So let's break it down.
So he's doing his_
_ [C#m] You can see it there.
It's [A#] C sharp minor with that lifted seven.
You got [C#] one, two, three, four, five, six, seven.
So, _ [G#] _ _ then he's got his four notes. _ _
And then his one string. _
And then arpeggios. _ _ _ _ _
_ [C#m] _ _ _ _ _ [E] _ _
_ _ _ _ So yeah.
Yngwie Malmsteen.
[A#] The pioneer.
You hear the person who pretty much opened the door for all the neoclassical metal that you hear right now.
Very cool.
[Dm] Nice.
Thanks.
_ Hey everybody.
I am Ron Bumblefoot Thole.
[A] And I want you to subscribe to Louder Noise.
_ [E] _ _ _ _ _ _ _ _ _ _