Chords for Machine Gun GALLOP-PICKING Method
Tempo:
87.625 bpm
Chords used:
E
F
C
G
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
Okay everyone, I was getting a lot of requests for a gallop video.
I call the machine gun gallop.
way to gallop.
[C] So it's a grouping of three that gives it sort of a galloping sound.
in metal, but it can also be used in other styles of music.
[G] [Ab] You've probably heard hearts, barracuda, that's like the more heavy metal version of it I guess.
a heavy tone and it's going to get really fast.
the mental concept of it.
I call the machine gun gallop.
way to gallop.
[C] So it's a grouping of three that gives it sort of a galloping sound.
in metal, but it can also be used in other styles of music.
[G] [Ab] You've probably heard hearts, barracuda, that's like the more heavy metal version of it I guess.
a heavy tone and it's going to get really fast.
the mental concept of it.
100% ➙ 88BPM
E
F
C
G
Ab
E
F
C
Okay everyone, I was getting a lot of requests for a gallop video.
So I like to teach what I call the machine gun gallop.
And what it really does is it's a real tight, strong way to gallop.
If you guys don't know what I'm talking about when I say gallop, [E] it's this kind of sound. _ _
_ [C] So it's a grouping of three that gives it sort of a galloping sound.
It's used a lot in metal, but it can also be used in other styles of music.
Even just, let's just do rock real [E] quick. _
_ _ [G] _ [Ab] You've probably heard hearts, barracuda, that's like the more heavy metal version of it I guess.
But for today's lesson we're going to think of it more like a metal type of situation.
So it's going to be a heavy tone and it's going to get really fast.
So the first thing I notice a lot of people have trouble with is just the mental concept of it.
I think they just think it's a [E] group of three so they try really hard to play three notes fast.
And it doesn't always come out right.
So I like to prepare myself mentally first, and then I like to go back and start to utilize it in real life.
So the way I like to picture it in my head is it's just two down strokes if you think about it.
Two down strokes with an up stroke in between them.
And if you think about it, if you do a down stroke, you have to do an up stroke anyway to do another down stroke.
So you may as well hit the string when you do it.
So you get this.
Just automatically.
So that's your group of three.
Now the way I was really able to lock this into my system was by doing accents.
So I would put the accent, which means you're going to hit it a little bit harder.
You're going to emphasize one of the notes louder.
Let's emphasize the first note first.
So let's try this.
Let's go.
_ One, kind of hard.
Then the other two, quick and light.
_ _ _ _ You see how my pick comes up high?
I hit it hard and then I do two smaller hits. _ _ _
Now it's really hard to do slow.
When I start to speed it up, you're going to hear it really kick in.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Okay, so you get a real Slayer type [F] sound.
Digget it, digget it, digget it, digget it.
A good way to count this, we're going to use the metronome in a second,
is by thinking of it in sixteenth notes.
So let's just go like this.
Let's go one-ee-and, and we'll skip the uh.
So it'll be one-ee-and, two-ee-and, three-ee-and, and so on.
[E] So I'll start the metronome to show you how that would lock into the click.
So this is 60 beats a minute.
So we'll go like this.
Ready?
Go.
One-ee-and, two-ee-and, three-ee-and, four-ee-and. _ _ _ _
_ _ _ So that's how it's going to sound when it's grouped together.
Another thing to make sure that you do is make sure you're palm muting.
Because if you did it open, you can still do that,
but you really don't feel it lock in like you do when you palm mute it. _
_ Especially if you're going for that heavier sound.
Remember, the emphasis is going to be on the numbers.
So it's going to be like one-ee-and, two-ee-and, three-ee-and.
So every time you say a number, you're going to emphasize it.
Also, tap your foot, if you can, in the future, maybe not today,
every time you say a number, and it's going to help you lock it in in your body as well.
Some people want to do power chords, that's totally fine,
but I recommend just for today that you stick with a single string.
Later you can start to do the barracuda thing.
Okay, [Dbm] but not today.
And I think what we'll [F] do is on the regular website, we'll do a whole routine
so that we can go from 50 beats a minute up to 100 slowly.
Today we'll jump around a little.
We'll do 100, but then I'll show you how fast you can really go eventually
when you lock that in.
A lot of people try to go fast too early, and they sound kind of sloppy.
So you want to make sure it's da-da-da, da-da-da, da-da-da, da.
Remember to think of the two-downstroke concept to get back on time.
Okay, 100, ready?
Go.
[E] _ _ _ _
_ _ _ _ _ _ Another thing that's going to help you, take your pick,
we've been talking about this lately, and tilt it either forward a little bit
or backwards a little bit, because it's going to roll off the edge of the pick
a little bit better, and you could do those strokes a little smoother like this.
_ _ If you have the pick completely parallel to the string, it can get caught.
_ I hear a lot of people do that at first.
You could also tilt it back, a lot of people wonder about that.
Then you're hitting the bottom of the pick here, or the bottom side of the pick.
[Bb] On the way up, you're hitting the [E] other side. _ _
So same effect, just opposite tilt.
Now the other way to practice this that a lot of people don't realize at first
is if you just move the beats over a little bit, you can actually come up
with a different emphasis, which gives you a different feel.
A lot of bands use this one, I would say a little bit more than the first one we did.
So all you have to do this time is hit on the 1 still,
but then you're going to wait after the E, you're going to leave that one alone,
and you're going to hit the &, a, and then the 2.
So the &, a, and the 2 become a grouping of 3 after the initial hit.
So you get this, 1-E, &, a, 2-E, &, a, 3-E.
So now your emphasis is on the tail end of the 3 versus the beginning.
So it's a little bit different feel.
Here's how it would sound with a click.
1, 2, 3, go.
1, &, a, 2, &, a, 3, &, a, 4. _ _ _
_ _ _ _ So this is more like that barracuda riff I was doing.
_ _ _ See, it starts with one hit, 1-E, &, a, 2.
_ _ _ Versus the first way we were doing it, which is more like attack right away.
_ Hear the difference?
So I guess you could call the first one the Slayer version,
and the second one the Heart version.
The barracuda version sounds a little cooler.
So we have Slayer and Barracuda are our first two versions of this.
So once again, Slayer is 1-E, &, 2-E, &, 3-E, &.
It's like slashing.
_ _ _ So that song is Raining Blood.
Okay, then the barracuda version is a little bit more groovy, I guess you could say.
_ _ _ _ So if you remember the counting on those, you should be just fine.
Try to find the most convenient way for your hand to do this without stressing out.
A lot of people over-pick when they do this.
I like to keep it kind of tight and real close to the string.
I also think of how valuable the idea of just the reflex of the upstroke is.
You don't have to put as much emphasis on the upstroke as you do with your downstrokes,
especially if you're doing metal.
So if you're going like this, _ the most important hit is the first one.
It has the accent on it.
_ _ The upstroke is just a reflex, just a real quick reflex.
The other one, the emphasis is on the end of the three, so you get this.
_ _ Once again, the upstroke is just in between.
It just happens to be there for the gallop.
Okay, so hopefully that lesson helps you get that machine gun rhythm hand that we all want
in order to play the songs that we want to play and the riffs.
Hopefully that helps you out.
Let me know
So I like to teach what I call the machine gun gallop.
And what it really does is it's a real tight, strong way to gallop.
If you guys don't know what I'm talking about when I say gallop, [E] it's this kind of sound. _ _
_ [C] So it's a grouping of three that gives it sort of a galloping sound.
It's used a lot in metal, but it can also be used in other styles of music.
Even just, let's just do rock real [E] quick. _
_ _ [G] _ [Ab] You've probably heard hearts, barracuda, that's like the more heavy metal version of it I guess.
But for today's lesson we're going to think of it more like a metal type of situation.
So it's going to be a heavy tone and it's going to get really fast.
So the first thing I notice a lot of people have trouble with is just the mental concept of it.
I think they just think it's a [E] group of three so they try really hard to play three notes fast.
And it doesn't always come out right.
So I like to prepare myself mentally first, and then I like to go back and start to utilize it in real life.
So the way I like to picture it in my head is it's just two down strokes if you think about it.
Two down strokes with an up stroke in between them.
And if you think about it, if you do a down stroke, you have to do an up stroke anyway to do another down stroke.
So you may as well hit the string when you do it.
So you get this.
Just automatically.
So that's your group of three.
Now the way I was really able to lock this into my system was by doing accents.
So I would put the accent, which means you're going to hit it a little bit harder.
You're going to emphasize one of the notes louder.
Let's emphasize the first note first.
So let's try this.
Let's go.
_ One, kind of hard.
Then the other two, quick and light.
_ _ _ _ You see how my pick comes up high?
I hit it hard and then I do two smaller hits. _ _ _
Now it's really hard to do slow.
When I start to speed it up, you're going to hear it really kick in.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Okay, so you get a real Slayer type [F] sound.
Digget it, digget it, digget it, digget it.
A good way to count this, we're going to use the metronome in a second,
is by thinking of it in sixteenth notes.
So let's just go like this.
Let's go one-ee-and, and we'll skip the uh.
So it'll be one-ee-and, two-ee-and, three-ee-and, and so on.
[E] So I'll start the metronome to show you how that would lock into the click.
So this is 60 beats a minute.
So we'll go like this.
Ready?
Go.
One-ee-and, two-ee-and, three-ee-and, four-ee-and. _ _ _ _
_ _ _ So that's how it's going to sound when it's grouped together.
Another thing to make sure that you do is make sure you're palm muting.
Because if you did it open, you can still do that,
but you really don't feel it lock in like you do when you palm mute it. _
_ Especially if you're going for that heavier sound.
Remember, the emphasis is going to be on the numbers.
So it's going to be like one-ee-and, two-ee-and, three-ee-and.
So every time you say a number, you're going to emphasize it.
Also, tap your foot, if you can, in the future, maybe not today,
every time you say a number, and it's going to help you lock it in in your body as well.
Some people want to do power chords, that's totally fine,
but I recommend just for today that you stick with a single string.
Later you can start to do the barracuda thing.
Okay, [Dbm] but not today.
And I think what we'll [F] do is on the regular website, we'll do a whole routine
so that we can go from 50 beats a minute up to 100 slowly.
Today we'll jump around a little.
We'll do 100, but then I'll show you how fast you can really go eventually
when you lock that in.
A lot of people try to go fast too early, and they sound kind of sloppy.
So you want to make sure it's da-da-da, da-da-da, da-da-da, da.
Remember to think of the two-downstroke concept to get back on time.
Okay, 100, ready?
Go.
[E] _ _ _ _
_ _ _ _ _ _ Another thing that's going to help you, take your pick,
we've been talking about this lately, and tilt it either forward a little bit
or backwards a little bit, because it's going to roll off the edge of the pick
a little bit better, and you could do those strokes a little smoother like this.
_ _ If you have the pick completely parallel to the string, it can get caught.
_ I hear a lot of people do that at first.
You could also tilt it back, a lot of people wonder about that.
Then you're hitting the bottom of the pick here, or the bottom side of the pick.
[Bb] On the way up, you're hitting the [E] other side. _ _
So same effect, just opposite tilt.
Now the other way to practice this that a lot of people don't realize at first
is if you just move the beats over a little bit, you can actually come up
with a different emphasis, which gives you a different feel.
A lot of bands use this one, I would say a little bit more than the first one we did.
So all you have to do this time is hit on the 1 still,
but then you're going to wait after the E, you're going to leave that one alone,
and you're going to hit the &, a, and then the 2.
So the &, a, and the 2 become a grouping of 3 after the initial hit.
So you get this, 1-E, &, a, 2-E, &, a, 3-E.
So now your emphasis is on the tail end of the 3 versus the beginning.
So it's a little bit different feel.
Here's how it would sound with a click.
1, 2, 3, go.
1, &, a, 2, &, a, 3, &, a, 4. _ _ _
_ _ _ _ So this is more like that barracuda riff I was doing.
_ _ _ See, it starts with one hit, 1-E, &, a, 2.
_ _ _ Versus the first way we were doing it, which is more like attack right away.
_ Hear the difference?
So I guess you could call the first one the Slayer version,
and the second one the Heart version.
The barracuda version sounds a little cooler.
So we have Slayer and Barracuda are our first two versions of this.
So once again, Slayer is 1-E, &, 2-E, &, 3-E, &.
It's like slashing.
_ _ _ So that song is Raining Blood.
Okay, then the barracuda version is a little bit more groovy, I guess you could say.
_ _ _ _ So if you remember the counting on those, you should be just fine.
Try to find the most convenient way for your hand to do this without stressing out.
A lot of people over-pick when they do this.
I like to keep it kind of tight and real close to the string.
I also think of how valuable the idea of just the reflex of the upstroke is.
You don't have to put as much emphasis on the upstroke as you do with your downstrokes,
especially if you're doing metal.
So if you're going like this, _ the most important hit is the first one.
It has the accent on it.
_ _ The upstroke is just a reflex, just a real quick reflex.
The other one, the emphasis is on the end of the three, so you get this.
_ _ Once again, the upstroke is just in between.
It just happens to be there for the gallop.
Okay, so hopefully that lesson helps you get that machine gun rhythm hand that we all want
in order to play the songs that we want to play and the riffs.
Hopefully that helps you out.
Let me know